Posing for the Story
Okay, So I'm gonna take my camera over here to get in front. We haven't talked about pose yet. So that's what I want to talk about. Next is how we compose for the story here. And I think we're going to try a few different things. One of the things that we want to try for the pose is toe look really like you're just so worn out like you just don't You're dying of thirst of, like, the whole world dying around you. So we'll try something kind of on your side and just kind of hunched over like this. And if you need to hold the bowl, we hold the bowl, and if it can hang, then it'll hang. And, you know, we'll just see how it goes, and it's OK. Either way, it doesn't really make a difference. Okay, I'm going to rotate it, if you don't mind. There we go. Cool. Okay. All right. Oh, I love this pose just as it is. So I'm going to go ahead and captured that and, uh, let you know my settings here. So I am shooting with a Sony a seven or four on a 24 to 70 millimeter lens. And this is my go to came...
ra because it has so many pixels in it. So many megapixels. So I can shoot and print really large with this camera, and that is very ideal when it comes to selling prints. I'm on my to 70 for versatility right now so that I just have a little bit of wiggle room when it comes to getting further away or not. And I have been shooting a lot of Samsara on the 24 millimeters side of things to get a little bit of distortion just a little bit, which I think is adding to the abstraction of the Siri's. I really am digging this, so I really like it and I'm gonna take my first shot once I get it off my remote setting. Here we go. And what I'm noticing is two things. We've got a little too much clay happening on this whole side of your body, so I'm going to grab the sponge and you can relax. And if you need to take that off your head, you feel free. You know, you just get comfy. Don't worry about the flowers and I'm going thio dab some of the side of you because I think it's a little too thick. And once we get some of that, we can try the pose again. The sponge works wonders, though. Okay, Hendon depress against you. All right. That looks really good. I'm sorry. Is that hurting you and all the sponge? Okay, Alright. So let's take a shot like that. It's creating amazing texture. Perfect. Yes. I love love. Love this pose. Awesome. Okay, so this this looks pretty close to my vision. I'm just going to adjust my settings. So I'm adjusting my settings to be I'm at 2/50 for my shutter speed F 3.2 and isso 12 50. And that looks good to me. And I'm just gonna really play up the angle here by getting really low. So I'm gonna go as low as I can for the shot, which I love, because the angles of Anna's body are excellent right now. Super interesting. Okay, so now let's try a slightly different pose. And this time, let's go for almost something more hopeful. So instead of looking down this time, I want to kind of look up so you're really looking up to the sky and your hands can hold. That's exactly it. Oh, this is why I love working with models. It never happens. I'm always alone. This is so great. Okay? And I'm going to keep that low angle because I think that's working really well for this particular shot. Awesome. Can you bring the front of the fish bowl down so that it's covering your chin? Yeah, Exactly. Perfect. Oh, I love it. Okay, now we're gonna try one more post here, and what I'm doing is I haven't settled on the story of this image yet. I'm trying to figure out Is this image super sad where she's hunched over or is there hope So I've got varying levels of sadness toe hope So let's do something on your knees a little bit more. We're really coming up exactly. And oh, yeah, that's perfect. And then I'm gonna have you keep your legs where they are, But then twist your upper body that direction exactly like that. Oh, yea. Okay. Oh, it's so good. Okay. Um, can you take this front? Leg your knee toward me more? There you go. Exactly. Perfect. Okay. Very cool. Let's relax