Storytellers Lane Yoder and Nathan Hiser tell Ashmir Mohammad’s fantastic story of transformation. Ashmir grew up in a Muslim family in St. Augustine, Trinidad, where he continues to live with his wife and kids.
Jeff Raymond listens to the story about Ashmir with the Storytellers Nathan Hiser and Lane Yoder during one of their many editing sessions.
[NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 16000, Ä/4, 1/250, Focal Length = 62]
Listen and watch the story of Ashmir Mohammad that Nathan and Lane captured.
Come with us to our next workshop. Check out the Storytellers Abroad website to learn more about our workshops.
Reeanna – Works and ministers at the drug and family rehab established by Lennox. She is a Christ follower and has a tremendous testimony about how God brought her minister to the rehab center. Ñ at Turning Point Drug & Family Resource Centre. Reeanna – Teaches students how to make Roti. Roti is a round flatbread native to the Indian subcontinent made from stoneground whole meal flour, traditionally known as atta, and water combined into a dough. Roti is consumed in India, Pakistan, Nepal, Sri Lanka, Indonesia, Singapore, Maldives, Malaysia, and Bangladesh.[NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 14400, f/4, 1/250, Focal Length = 35]
Hannah captured Reeanna’s story; it is best to see her video here.
Jeff Raymond walks the class through the resources created in a report-size notebook for them at Trinidad & Tobago Urban Ministries. [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 8000, f/4, 1/250, Focal Length = 28]
Lauralie Brock, missionary to Trinidad, talks with Carrie Bergen and Sara Slater, a storytelling team, while we are at our base camp Trinidad & Tobago Urban Ministries. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 100, f/4, 1/320, Focal Length = 35]
Carrie Bergen is working on editing the video about Felisha at our base camp Trinidad & Tobago Urban Ministries. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 40000, f/4, 1/250, Focal Length = 105]
Lennox Boodram – a ministry partner saved from drug and alcohol addiction- runs a Christian drug and family rehab center (Turning Point)that has been operating for the past five years. He is talking with some of the students from Cedarville University who are taking the workshop this week in Trinidad. [NIKON Z 6, Sigma24.0-105.0 mm f/4.0, ISO 11400, f/4, 1/250, Focal Length = 105]
However, airlines often limit the weight you can carry when traveling internationally. So, I have been working around this using a zoom lens, which means I can take fewer lenses but cover a more comprehensive focal length range.
I wrote recently about how the Nikon 28-300mm paired with the Nikon D5 works when traveling and covering sports. On my most recent trip to Trinidad, I knew we would have a chance to photograph the Scarlet Ibis at the Caroni Swamp. Due to the weight, I didn’t want to carry my Sigma 120-300mm ƒ/2.8 and 2x converter, so I brought the Nikon 28-300mm ƒ/3.5-5.6 on my new mirrorless Nikon Z6.
The Scarlet Ibis (Eudocimus ruber), locally known as “flamingo,” makes its home in the Caroni Bird Sanctuary in the Caroni Swamp–an area set aside by the government to protect these colorful birds. The Caroni Swamp includes fifteen thousand acres of marshland, tidal lagoons, and mangrove trees. Several thousand Scarlet Ibises nest and roost in the sanctuary and are often seen in large numbers during the last two hours of daylight. Larger Scarlet Ibises can be seen during the breeding season, from April to August. These birds feed mainly on crabs they seek out on the mud flats exposed at low tide and on the stilt roots of the red mangrove. [NIKON Z 6, Nikon 28.0-300.0 mm f/3.5-5.6, ISO 7200, f/5.6, 1/2000, Focal Length = 300]
If I were going to Trinidad to photograph the birds for a job where the client needed great photos, I would have brought the Sigma 300-800mm F5.6 EX DG APO HSM.
Monday in Trinidad [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 9000, f/4, 1/250, Focal Length = 24]
The Sigma 24-105mm f/4 lens is usually perfect for my shooting needs. I love shooting wide at 24mm. I captured the students during class times with the Storytellers Abroad Multimedia Workshop.
Miki Veness is one of the students from Cedarville University who came to Trinidad for the workshop. [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 36000, f/4, 1/250, Focal Length = 105]
At the same time, I like to zoom in to 105mm and take some photos. I like having a lens that lets me capture things near me, like in a room setting, and the Sigma 24-105mm is perfect for this.
Mixing the Pigeon Peas with curried chicken at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 51200, f/14, 1/80, Focal Length = 90]
I love photographing the food I eat when I travel. Here, I am showing the exceptional food that Lennox was making for us to enjoy.
Lennox Boodram – a ministry partner saved from drug and alcohol addiction- runs a Christian drug and family rehab center (Turning Point)that has been operating for the past five years at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 51200, f/14, 1/125, Focal Length = 82]
Combine those lenses with the Nikon Z6; you have a small kit to cover most of your travels. The only thing I would add to the equipment is a super-wide-angle lens if I knew I would be inside and needed to capture something I could not back up and get.
Lukas & Nate interview Scott Brock, missionary to Trinidad [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 9000, f/4, 1/250, Focal Length = 35]
Now, when I teach these workshops, I do not focus on shooting; instead, I am there to equip the students with the skills they need to capture a story.
Nate McClain & Lukas Benson are capturing the b-roll of Lennox Boodram as he is counseling two of the guys in his program at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 4500, f/4, 1/250, Focal Length = 32]
I am shooting mainly to capture the experience of those going through the workshop. I love to blog about it and give insights into what I observe and learn each time.
If you want to see how well it shoots video, I shot some quick files with the Nikon Z6 and Sigma 24-105mm f/4 handheld using the camera’s microphone.
More photos were taken with the Nikon Z6 and Sigma 24-105mm f/4 Art Lens.
Masjid-ul-Muttaqeen in Trindad Ñ at Masjid Ul Mutaqeen. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 100, f/10, 1/1000, Focal Length = 82]
Hindu temple at Sri Ganapathy Sachchidananda Ashram, Tirumala. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 3600, f/10, 1/250, Focal Length = 24]
We visited the Hindu temple at Sri Ganapathy Sachchidananda Ashram, Tirumala. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 400, f/13, 1/250, Focal Length = 24]
Hindus started immersing in idols after their land (the present Indian subcontinent) was invaded by Muslim rulers. During that period, Hindus were not allowed to make permanent temples (Hindu places of worship where the idols are placed) because Muslims believed that worshipping polytheistic gods using idols (or images) was wrong. Those who did this should be killed or converted to Islam. As a result, during critical Hindu festivals like Dussehra, Deepawali, Saraswati Puja, Ganesh Chaturthi, etc. (most Hindu festivals range from approx One day to Ten days), temporary temples were made with wood and clay, and clay idols were placed in those temples which after the festival ended were immersed—Ñ at Temple in The Sea Waterloo. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 1250, f/14, 1/250, Focal Length = 28]
Cremation is an essential ritual for Hindus. Generally, it is stated that immersing in the ashes of a dead person releases an individual’s spiritual essence from its transitory physical body so it can be reborn. If it is not done or not done correctly, it is thought that the soul will be disturbed and not find its way to its proper place in the afterlife, and it will come back and haunt living relatives. The second reason is that by immersing in the ashes of the dead, the soul gets salvaMokshar Moksha, as the holy river receives all his sins, & Mokshae moksha—Ñ at Temple in The Sea Waterloo. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 100, f/4, 1/1000, Focal Length = 24]
What was thing big Ah – Ha! moment with students during the Storytellers Abroad Multimedia Missions Workshop in Trinidad? How important it was to spend more time on the pre-interview.
Naz Mohammad [Blue Shirt] – Pastor of a church plant in St Augustine, born and raised in St Augustine. He is talking with some students who will be doing a story on him this week. Ñ at St Helena Shiv Mandir. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 12800, Ä/4, 1/250, Focal Length = 28]
We build the workshop time for the students to get to know their subject. This is the pre-interview. Even so, most everyone would start their “formal interview” with the camera rolling too soon.
Lukas & Nate interview Scott Brock, missionary to Trinidad
[NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 9000, Ä/4, 1/250, Focal Length = 35]
They learned that if they didn’t know the story before they started, they didn’t know how to take control. They would let the subject talk and talk and talk. This meant they had 60+ minutes of an interview to edit, and every one of those interviews had to be redone.
Jeff Raymond helps Rachel Ingram and Miki Veness on their video project Ñ at Trinidad & Tobago Urban Ministries.
[NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 12800, Ä/4, 1/250, Focal Length = 48]
When we teach how to interview, we teach what the key points you are looking for to help tell a compelling story are.
While this storyline/narrative has been known for a long time in storytelling, we still often struggle to get those key elements.
Subject Conflict Resource/Help Action they took Call to Action
Lennox Boodram – a ministry partner, saved from drug and alcohol addiction- runs a Christian drug and family rehab center (Turning Point)that has been operating for the past five years. Great testimony. Ñ at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 4500, Ä/4, 1/250, Focal Length = 38]
Now the one thing we add to our stories that you don’t see in a movie theater is a call to action. Now that you have seen this story, we want the audience to know how to get involved.
If the storyteller has taken time to get the story before they roll the camera, those interviews are usually more of a 15 – 20 minute interview. The only reason it isn’t the short 3 – 5 minute finished project is they often have the subject do a few takes. They want to get the best emotional match to the content.
All the students were talking about how next time, they will spend more time getting the story during the pre-interview so that the editing process will be much simpler.
I love teaching at the School of Photography, run by my good friend Dennis Fahringer. I think it is the best school of photography I have come across. Here is a link to learn more about the school.
This is my favorite light for headshots. We didn’t have my Tri-Flector that I love to use, so we used a softbox lower under the person’s chin.
This was the lighting set up—the main light was 45º above the camera, and the fill light was below 45º. The key here is to keep the camera lights and subject in the same positions. You can have them face a little left or right but keep their head straight forward to get that butterfly formed under the nose due to the main light.
Photos by Jedidiah Pearson
You can get many excellent photos by staying with a lighting setup and just having the person move a little right and left by mixing your expressions and body language.
Photos by John Davidson
For this assignment, I didn’t have the photographer light the background. I did suggest the hair light up and directly behind the subject. Putting the stand behind the background lets you hide it.
Photos by Sarah Klinke
If a person was bald, I suggested not to use the hair light. If they had light hair, maybe no more than one stop brighter than the main light. If you have dark hair, you can often go as much as two stops more luminous than the main light.
Photos by Valentine Huss
Now, if you look closely at the eyes, you can see the main and fill light.
This is even closer for you to see the eyes.
This is a tip for deciphering photos. Look in the eyes; you can usually see where the lights are placed and the shape of the modifiers.
Here is my setup. I use it most of the time for headshots of actors and models.
This is the second modification where I light the background.
This last setup is where I have enough space. I turn on the lights behind the background for white and turn them off for a grey background.
KISS Rule
Keep It Simple Stupid – is what I have been taught through the years. Don’t overthink things.
I hope this inspires you to use lights with your photos.
I love teaching at the School of Photography, run by my good friend Dennis Fahringer. I think it is the best school of photography I have come across. Here is a link to learn more about the school.
I love to teach lighting. One of the setups I love to teach is one I learned first from my Uncle Knolan Benfield.
He is the one that taught me what a 3:1 Light Ratio setup looks like and why I should know how to shoot it.
Photos by Jedidiah Pearson
These are some of the shots that the students produced last week during my time teaching at the School of Photography in Kona, Hawaii.
Photos by Sarah Klinke
The problem with too contrasty lighting is that when it is reproduced in something like a newspaper, the shadows go black. The 3:1 ratio produces a good shadow on newspaper print yet still has some modeling on the face.
Here is ablog post that goes step by step on how to shoot it.
Photo by Wyatt Reed Alderman
I wanted you to see how students who had never done lighting before my time with them could not just master it but get great expressions as well of their subjects.
Photos by Tess Williams
They learned that having an excellent solid lighting setup can free you to work on expressions and pose.
Photos by John Davidson
They also were challenged to write a little story on their subjects. John Davidson wrote this about his subject.
Stan was a farmer who raised potatoes, alfalfa, and wheat and grew marijuana. Unfortunately, he also smoked marijuana and used many harder drugs. His life was a mess, and he almost killed himself. He went to a Drug & Treatment Center and got clean. He retired after working 27 years at Idaho National Laboratory as a nuclear reactor Operator/Instructor.
The idea is that sharing a photo with a story with the picture makes it so much more exciting, and people come back to look for more.
Photos by Gabe Hein
What do you think of these students’ photos they made of people?
Teaching off camera flash and mixing with available light [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 100, ƒ/5.6, 1/100, Focal Length = 24]
I was teaching the School of Photography 1 students at the University of Nations campus in Kona, Hawaii, how to improve photos by adding a flash to the available light.
[NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 280, ƒ/5.6, 1/250, Focal Length = 24]
I walked outside and immediately found this guy we had seen the day before.
Word by heart [X-E3, XF18-55mmF2.8-4 R LM OIS, ISO 3200, ƒ/4, 1/100, Focal Length = 83]
We met him during our devotion time, where he did a monologue on a scripture.
They had the assignment to do an environmental photo of a person and improve it using a flash.
I found him playing basketball. I knew I already had something about him taking a class on learning the scripture by heart and performing it as a monologue. I could see he liked playing basketball, so I asked him to photograph him.
He had to go shortly, so in less than 5 minutes, I took the first two photos. One without flash followed it up with the off-camera flash of the Godox 860IIN, which was on a light stand and triggered by the Godox transmitter.
Go and try this yourself. Just find a place where the subject can use some help with light. Then add your flash off the camera. Start with it at 45º to the left or right of the camera. Then put it 45º above the person’s eyes as a starting point.
Jedidiah [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 200, ƒ/5.6, 1/500, Focal Length = 32]
While the students would have to find their model and location later, I had each shoot the same setup with their flash and camera.
After a while, I noticed they were not coming up with anything exciting for compositions. I shot this to challenge them to look for something different.
Although an article published in the Journal of Computers in Human Behavior didn’t prove the exact correlation between narcissism and social media, it certainly picked up on how social media enhances and possibly contributes to narcissism.
“Watch Me” is what we say to our parents when we are small children. While later, as teenagers or adults, we are not trying to get mom and dad’s attention, many of us are trying to get the rest of the world to pay attention.
If you post something on Facebook, you often feel better that people are paying attention to the number of likes and the type of likes you get.
Even better than likes is positive feedback by comments.
There is another way you can use social media, and one of the best examples I can give is Humans of NY.
Brandon Stanton is the founder of HONY. Initially, he was going to photograph 10,000 New Yorkers. It was mainly about his love of photography and wanting to share his photos of people.
Somewhere along the way, he started interviewing people. At first, he was sharing little interesting quotes with the photos.
Today Stanton is interviewing most of the subjects and “peeling the onion,” as we like to say when you interview someone and get their story.
In an article on Open Eye Creative, they reported:
“He partnered with Tumblr to raise more than $300K for Hurricane Sandy victims. He helped raise more than $1 million for a Brooklyn school after one of the students appeared on his blog. He reportedly raised more than $5 million for philanthropic projects in 2015.”
Today HONY has around 20 million followers through its website, Instagram and Twitter.
“It’s a dialogue, not a monologue, and some people don’t understand that. Social media is more like a telephone than a television.”
Amy Jo Martin, author of Renegades Write The Rules
Make Social Media About Others
I think professional photographers would grow their following by sharing stories of the people they photograph. Be sure your post focuses on them and not you. Do all you can to remove yourself from the center.
Brandon Stanton’s three suggestions for better stories also is a great place to start. Sooner or later, you will find your style for telling stories of the people you meet.
Stanton’s Questions
Get to the heart of it
Ask one question at a time
Seek out the unexpected
Here is a good article that goes deeper to learn more about those questions.
Why does he have such a following?
This video is an excellent example of how he connects with the audience.
First Others & Then You!!!!
Here is another exciting thing that research is showing us. People want to know more when you share great content with others. They want you to take them backstage. This is where you can share a little about your experience in meeting this person.
Here is the strange thing, if you were only to share your experience, the number of followers would be drastically smaller. However, if you always lead with others and then share something behind the story and photo, then your numbers will do the opposite. They will soar.
Now just sharing about others, well, that works, but the combination works best.
Julie Gavillet wanted a job change after 10+ years in a job. It bothered her so much that she prayed that God would help her out of it. Just a few days after that prayer, Julie was laid off. Because of the number of years she had been at that job, she got a great package that allowed her to chase her dream of being a photographer. She was able to buy her gear and go off to Hawaii to study photography. She took two courses every three months and did some other work. Today she is staffing those schools and helping others pursue their dreams of being a photographer. Soon she will return to Canada and start her own business of doing what she loves rather than just a job to pay the bills. If you want to study photography like Julie, here is the school she went to for her dream to be fulfilled. https://www.uofnkona.edu/uofn_courses/school-of-photography/ [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4.5, 1/125, Focal Length = 85]
This would be a great Instagram post. Today it would also be great to follow up with another photo and the scenes peek into the picture.
When I post these to my Instagram account, the second photo might get more comments. I hope you notice that I am always trying to help others get better with their photography. I am not saying look at how great I am, just like my photos.
I encourage you to make Social Media a way to create community and inspire others. When you do this, you will be even more fulfilled than if you made it all about you.
“When I hear people debate the ROI of social media? It makes me remember why so many businesses fail. Most businesses are not playing the marathon. They’re playing the sprint. They’re not worried about lifetime value and retention. They’re worried about short-term goals.”
Little boy roping during the Dummy Roping Contest at the 27th Annual Pana’Ewa Stampede Rodeo put on by the Hawaii Horse Owners in Hilo, Hawaii, on February 18, 2019. [NIKON D5, 28.0-300.0 mm f/3.5-5.6, ISO 720, ƒ/5.6, 1/4000, Focal Length = 150]
When traveling and doing mainly general photography, I don’t pack a Nikon 200-500mm or a 600mm ƒ/4. I have found that the Nikon 28.0-300.0 mm f/3.5-5.6 is the perfect lens for about 99% of the situations I encounter.
Cowgirl Barrel Racing at the 27th Annual Pana’Ewa Stampede Rodeo in Hilo, Hawaii. [NIKON D5, 28.0-300.0 mm f/3.5-5.6, ISO 1600, ƒ/5.6, 1/4000, Focal Length = 300]
When I went to The Big Island of Hawaii, I saw online that there was a rodeo going on when I was there in Hilo. I just decided to travel with my Nikon D5 because of its unsurpassed ability to follow focus and freeze action.
The lens did a great job. Could I have done better with a 200-500mm–YES. However, I would then have to pack that large piece of glass.
I cropped a little in on these photos knowing that the principal place I will use them is on my website. A 20-megapixel image can easily be cropped for this end-use.
Cowboys compete in steer wrestling at the 27th Annual Pana’Ewa Stampede Rodeo put on by the Hawaii Horse Owners in Hilo, Hawaii, on February 18, 2019. [NIKON D5, 28.0-300.0 mm f/3.5-5.6, ISO 1800, ƒ/5.6, 1/4000, Focal Length = 210]
Pana’Ewa Stampede Rodeo
Hawaii Horse Owners 27th Annual
Hilo, Hawaii [NIKON D5, 28.0-300.0 mm f/3.5-5.6, ISO 2000, ƒ/5.6, 1/4000, Focal Length = 300]
While I had the brand new Nikon Z6, it doesn’t perform as well as the Nikon D5. The Nikon D5 computer does a much better job with focus and buffer. You can shoot 200 RAW images before the buffer fills up. That is a lot. At 12 fps, you can pretty much nail the shot.
I would recommend that most people invest in a mirrorless camera system. I would not recommend starting with the Nikon FM2 that I first started my professional career shooting.
Nikon Z6 with Sigma 24-105mm ƒ/4
The market is very different when you ask me in my career what I would recommend. With that said, there are core things that do not change.
Cut Expenses
Start with essential gear. You don’t need the top-end model camera. Today’s most basic camera will do just about all you need. The only thing I would think a little about is if you are doing photography and video, you would want to go with a camera with headphones and microphone jacks.
Food, Shelter & Transportation are needs, but if you are not careful, you can live beyond your means. Remember you are starting out, so keep all these to the bare minimum. Drive a cheap car, get a roommate and eat as much as possible at home.
Know what everything costs. You need to know precisely what you need to meet your bills. I like to budget by the month. I know exactly what I need to pay for my monthly expenses. This is your budget, but you must also know your business budget. To get these numbers, NPPA has an excellent Cost of Doing Business Calculator. Here is that link: https://nppa.org/calculator. There are little “i” in a circle on each item. Click on that to learn more about each item.
Gear
Camera
2 lenses
5 in 1 reflector
Hot Shoe flash, Light Stand and umbrella
Memory Cards, batteries
Computer and Lightroom
You don’t need a lot. I would probably recommend having a second camera. This is more for backup than anything else. The rule is always to have two cameras for any job that cannot be rescheduled.
You need an essential website. I recommend WordPress. I have it hosted with Godaddy. Create a domain name. Use this with your email address as well.
Get a business card. I would have your name, phone number, email, and website domain name on the card.
Find your niche. I would start with headshots and family photos. You need very little gear, and your network already exists.
Too many go-after niches that require a lot of gear. Sport is a great example. To compete in this area, you need expensive telephoto lenses. The downside is the going rates for sports are one of the lowest in the industry.
Don’t try and market yourself for everything, but if someone calls, then take the job. Just don’t overreach. Start small and realize you must spend most of your time cold calling.
Alexia Shepherd [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
When you are changing lighting setups or camera settings, you cannot pay attention to expressions. Giving a lot of variety with lighting setups may not be the best approach.
KISS – Keep It Simple Stupid
Getting great facial expressions takes much more skill than changing a lighting setup. You have to build trust with the person. You have to connect with them so that together you can capture the subject’s true essence.
Alexia Shepherd [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
I do minor lighting changes so I can spend more time getting lots of expressions.
One thing I do with my setup is to change the background from a grey to a white background.
I can pause for a moment and turn on or off the two lights behind my white muslin background. Off I get a lovely neutral grey. The light from the beauty dish is what lights the background and my subject.
When I have my background lights on, they are giving me one stop more light than I have set on the subject. This gives me a spotless white background.
Chance Wills [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
I love to shoot 50 to 100 images before I change the background.
Chance Wills[NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
I encourage people to bring a couple of outfits. It is incredible to me how much wardrobe change impacts the final photo.
Will Oliver [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
Changing from a low-key to a high-key photo can also help change the photo’s mood.
Will Oliver [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
My tip is to pick one outfit and shoot a lot. Go for 100 photos without changing lighting: background, or clothing. Then change the background and repeat. After you have done that, then change outfits and shoot again.
Make the emphasis of the portrait/headshot session about getting an expression. Go past the extremes of sadness and joy. Then try and shoot all the nuances of faces.
Chance Wills [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4, 1/160, Focal Length = 85]
Don’t forget to get verticals and horizontal photos.
Andrew Mozingo
[NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4.5, 1/125, Focal Length = 85]
Remember, the thing that makes a great headshot is EXPRESSION!!!
Andrew Mozingo [NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4.5, 1/125, Focal Length = 85]
It is much easier to get a pleasant and genuine expression if you have pushed the limits of expressions first.
Andrew Mozingo
[NIKON Z 6, 85.0 mm f/1.8, ISO 50, ƒ/4.5, 1/125, Focal Length = 85]Tagged : #headshots / #portraits / lighting
