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 - 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 somenice streets to shoot on. But before that, let's intro our model. So this is our model fortoday, come on over here. - Hey, everyone. - This is Isabella, we'reboth based out of New York, so we shoot a lot around here,we kind of know the area. But we're gonna kind oflook through the outfits she brought today, andfigure out what kind of looks we're gonna go for. - And I brought a few looksthat I think you would like. - All right, let's see what you got. - Let's go through this. - I think if we're gonnashoot 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 onyour pointe shoes of course. - Mm-hmm. - Yeah. Sweet. (upbeat music) So we made it to the firstlocation I had in mind. I kind of actually walked past here when I was meeting Isabella, I kind of like thisbecause of the two sides of the tree like intertwining. It can make for a reallynice perspective shot. I have my Nikon Z7 with me, butwe're gonna switch to my 85, to make it a little bit more telephoto. Especially because we areshooting 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 settingsfrom 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 gonnaboost up to just 160, we're setting our shuttera little bit higher because of the motionwe're about to shoot. And then I'm just gonna go inand change my white balance to whatever looks thebest 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 prettyaccurate to real life. So right now it's kind of nice, soft light we're getting back here, andthat way it won't distract too much from the modelbecause of Isabella's posing is a little bit morecomplex than we're used to, so we can have the background just be a nice, likelittle 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 thisout, 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 rightin 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'mholding 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 thatlooks like you have the rainbow kind of in-frame, in theedit, duplicate that, and post it to a photo that actually didn't have the rainbow, andthen 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 reallyfast when I'm shooting, especially when I'm shootingwith 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 aroundtrying to find some nice light with this golden hour happening behind us, we found the light, kindof nice back lighting, through these trees right here, so I'm gonna have Isabellastand 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 thatmotion, 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 thenice light we have right now to keep that ISO as low as possible. For this shot, we'renot gonna do full-body just because there's a lot of people coming in and out, sowe're gonna shoot waist up, and I'm gonna have her focused before she goes into themotion, just to make sure I know where she's aboutto 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 isreally harsh behind you, so you're kind of likesilhouetted 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 justswitched my 85 to my 35, just 'cause we're getting a little bit closer in on her, but Ialso 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 actuallymove down just a bit 'cause of this trash. So, we still have somegolden hour happening, we walked a block downto 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 justdoing one single motion, I'm just gonna do single shutter. So I don't get too manyphotos, 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 lensfrom my 35 to my 58 1.4. Just 'cause I think thatthis shot I'm getting, will look a little bitbetter with the background slightly more blurred, andsince 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 ourway down to the skyline where golden hour is happening, I kind of stumbled uponthis little pathway. And this is something I really like because it doesn't look like New York, so it adds some kind of varietyin the shots we're getting. So we're gonna have Isabellaright in the middle of this, I have my 85 on, so we cankind of get that depthy look with our telephoto, semi-telephoto lens. And my settings are prettymuch the same as earlier, so. Let's get you right inthe 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 walkto 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 Isabellapose against this railing. I also have my 105 millimeter on, so we can kind of get ridof 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 apretty 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 tooka test shot with the 105 and I actually didn't love it. You couldn't even see really the skyline 'cause it was super upclose 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 bitlower 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, dothat 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 mymodel move when she's posing in kind of like a slow, authentic way. So I want to make sure I'mcapturing all those little shots. 1/250 right now is perfect just for that. But you can also change it if you want to playaround with more movement, I just like to make sure that we're getting somecrisp, clear shots, and nothing is out of focus or blurry. So we just finished uptaking our daytime portraits, it's definitely gettinga 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.