Paige Maron: Hello, everybody.
Welcome to the Olympus booth, day two of WPPI.
My name's Paige Maron, and I'm the manager of our communications at Olympus, we're excited
to be here and to have you guys here with us.
Before I get started, I just want to make sure that everybody knows that we are having
a contest for a chance to win an OM-D EM-1 Mark II with a 12-40 pro lens, so if you haven't
yet, and you're interested, go find Amanda, find Jim, if you don't understand, they will
help you out.
But besides that, we are ready to introduce our next speaker, Joe Edelman.
Joe is an award- winning photographer and educator based out of Allentown, Pennsylvania.
Joe is super well known for his very popular YouTube channel, and he uses the YouTube channel
to talk about the how's and why's of photography, and to teach photographers how to pose, how
to shoot, and he's really, really engaging, so we're super excited to have him here with
us today.
So without further ado, let me welcome Joe to the stage.
Joe Edelman: Okay.
Alright, thank you guys.
Thanks for coming out.
How's everybody doing today?
Having fun in Vegas, I hope?
Because it's kind of against the law here not to have fun.
Listen, I'm here to talk to you about fashion portraits, because that's kind of what I'm
most known for, aside from the crazy stuff that I do on YouTube, but before I start,
I have to give you a little bit of backstory as to how I wound up here.
And that is, that just three months ago, I switched to Olympus, so I'm like the new guy
on the block.
I'm only going to say this word once, please don't repeat it.
I was a Nikon guy for like 42 years, which means I'm kind of old, but I did what everybody
else did.
When digital technology came around in early 2000's, I chased megapixels.
I chased bigger sensors.
I chased more dynamic range.
I chased bigger price tags, heavier cameras, and I got to a point where I realized that
I was doing what a to of you do.
I took more pictures with this than I did with those really nice expensive cameras that
I had.
I only picked those cameras up when it was work.
I wasn't using my camera for fun anymore.
You know, I've been doing this a lot of years.
The problem was not that I was bored with photography, it was just too much effort.
So it wasn't an overnight thing where I decided, "Hey, let's go change camera systems."
After that many years, you don't do it that fast, it took me about a year and a half of
soul searching and researching to decide, is this something that was viable for me.
So I needed to make sure that I was going to be able to replace all of the features,
all of the needs that I was so accustomed to, and do it with a brand new camera system.
So I did a whole lot of research, I started looking at Micro Four Thirds, and that was
the last that I looked at, because I thought, "That can't work."
And I was wrong.
So I went out and I rented an Olympus camera, I tried it out, and step by step, it checked
off all of the boxes for what I need.
So now, I use Olympus' flash camera.
It's the OMD EM1 Mark II.
It's a 24 megapixel camera.
I've got a full line up of the M. Zuiko lenses, which, by the way, don't take my word for
it, try them out.
These are some of the sharpest lenses you are ever going to put on a camera.
I am not exaggerating.
So right on the other side of that wall there, Olympus has some models on a really cool steam
punk set, so if you have a secure digital card, you can try out one of the cameras with
the same lens that I used for most of these shots.
Most of these shots were done with a 45mm F1.2 pro lens.
One of them that went by was done with a 75mm F1.8 lens.
Both amazing lenses.
I'm not the guy to sell you on the cameras.
All these folks in the gray shirts, they're the experts.
So I did want to at least share with you my five favorite features about this camera.
And the thing is, they're not all features that you might expect a portrait guy to be
worried about.
So first and foremost, they're small, which is what I wanted, but they're not too small.
Ergonomically, these cameras are amazing.
When you put one of these cameras in your hand, everything is where it needs to be.
It just fits right.
And they are incredibly customizable.
I have never seen a camera system with so many customizable function buttons so that
you can really make the camera work the way that you like to work.
Along with that, they're lightweight.
That was a big one for me.
I was tired of having to lug around all the really, really heavy equipment.
Also, these are solid.
You think lightweight, you think small, you start thinking, okay, it's going to feel cheap.
Not so.
These cameras are solid metal bodies.
Even the pro lenses have metal outsides, metal focusing rings, they have a really, really
good quality feel to them.
In addition to that, the 121 point dual fast auto focus.
So follow along, this is as techy as I get, okay?
There's two types of auto focus systems that are really popular amongst cameras today:
contrast detection and phase detection.
And in the phase detection, they basically, in the focus points, put these little lines.
Most camera systems use one line.
Some it's horizontal, some it's vertical, some it's diagonal.
Olympus has cross hairs in all 121 points.
So what does that do for you and why should you care?
It's super accurate, and it's super fast, and you add to that the eye tracking continuous
auto focus, I'm not kidding you, it's to die for.
It is crazy fast.
Don't take my word for it.
Pick up a camera, aim it at a model, and watch how quick that auto focus is.
And it's not set on auto focus, when you get back there, ask one of the tech reps to set
it on the eye tracking, so you can see how fast that locks on.
And here's one that most still photographers don't consider.
I never considered it.
It's the five axis image stabilization.
So the sensor in the OMD EM1 Mark II, it floats, it's magnetized, so it's not locked in.
So for a video, if you do shoot video, you can walk around with the camera and do a shot,
and it looks like it's on a Gimble, and I'm not exaggerating, it's incredibly smooth,
but for still photographers, and this is cool, so ... I was in Pennsylvania, where it's cold
in the winter, and I don't know about you, but I don't shoot outside in the cold.
That's why I was never a landscape photographer.
So I will definitely put this to use once the weather warms up.
The five axis image stabilization, it gives you five extra shutter speeds that you can
work with and get sharp images.
So most photographers won't consider hand holding a picture below 1/60th, maybe 1/30th
of a second, depending on the camera, depending on how steady you are, et cetera.
Well now, drop down five more shutter speeds, and I didn't believe it, when I was learning
about these cameras and reading about them, I went into the Facebook groups for Olympus,
and there were photographers posting landscapes and night shots that they had handheld at
a half a second.
Coming from that other brand, I'm like, "No way.
That's not happening."
It works.
It really, really works.
So when you're working in difficult light situations, especially if you're worried about
having to increase your ISO, this image stabilization gives you the option to go to a lower shutter
speed if you don't have a fast moving object, and keep a lower ISO to do your shots.
So, by all means, check those out, but that's not why you're here today.
You're here to have me answer the question: What is a fashion portrait?
And every time I talk about this, people are like, "So what is a fashion portrait?"
Portraits?
Yeah, that's a pictorial representation of a person.
And it could be hang on a wall, it could be for social media use, it could be for a corporate
headshot, heck, maybe it's for a dating app.
That's why somebody gets their portrait done.
All of those kind of portraits, they kind of have rules.
The picture's got to meet certain criteria in order to make it effective.
I'm not a big fan of rules.
If you follow me on YouTube, you know that.
So what's cool about fashion portraits is I make the rules.
I get to take a little bit from the portraiture world and a little bit from the fashion world,
and I kind of cram them together and see what I come up with.
So let me give you an example.
Here's an picture that I call a fashion portrait.
This is a little bit more complicated, and has a little bit more going on behind it.
We've got really, really cool, creative make-up that a very talented make-up artist did.
In order to get the randomness in the picture, since the make-up and this girl's face are
very symmetrical, I wanted to have some material blowing and floating around her head, so literally,
I have a fan on the ground behind the model, and I am both managing the material, and I'm
shooting with a wireless remote control.
My make-up artist is behind the camera, giving the model direction so that she's keeping
her head straight, keeping her face into the camera lens, and you can see, when the shot
was done, the young girl was quite relieved because the fan was really cold.
Now, that's really cool, but I don't want to scare you away from this idea, thinking,
"You know what?
I don't have all that crazy equipment, and I've never done that much stuff."
Fashion portraits can be really simple too.
So to give you an example, here's the same young model in a very nice, pretty headshot,
but by making some really simple changes and using the exact same lighting, I can turn
this into a fashion portrait.
If I simply slick her hair back, give her a pair of sunglasses, and when I shoot in
the studio, I'm not using them here today so that I don't have to trip over the cords,
but in my studio, I shoot with the Interfit Honey Badgers.
They are, hands down, my studio strobe of choice.
I love them for tons of reasons, of which you can learn about on my YouTube channel.
So what I've done here, is I've centered the 24 inch pop up soft box from Interfit in the
sunglasses and made my fashion shot.
I believe in never stopping when I think I'm done because there's always something more
to be found.
So I decided, this is really cool, very dramatic, but I want to go with a little bit more drama,
and I'm also kind of lazy.
I wanted to do it without having to set up all new lighting and change stuff around,
so all I did?
I raised the light and the soft box higher, I went to a lower camera angle, and I had
the young girl look up to the soft box so that I'm looking up at her, and it gives me
a more dramatic feel.
Let's go ahead and jump in, and let's see if we can kind of create some pictures for
you guys.
Shayla, can I get you to come on up?
There we go.
I have a beautiful young model here, her name's Shayla.
Where did my spot go?
There we go.
I'm going to put you right there, Shayla, okay?
So I'm not the guy that's going to razzle dazzle you and show you this amazing stuff.
I want to walk you through the process.
Instead of spending a whole bunch of time making a picture perfect, I want to show you
the steps and share with you my thought process of how I'm going to go ahead and build the
shot.
And we have a kind of unusual shooting space, in that I don't have a flat background that's
parallel to where I'm going to be shooting, it's angled, but I can use that as a background.
And again, if you've ever watched my videos, you know that my favorite background color
... if I could only have one background to use ever, it would be gray.
And the reason being, with gels, I can turn that gray into any color that I want to.
So for today, just to keep things lightweight and fast, I'm using these Godox, or Flashpoint,
depending on where you buy them.
They're called 8200s, they're a pocket flash, which means they're kind of a hybrid.
They are a cross between a speed light, because they kind of look like a speed light, and
also a studio strobe.
In part because they recycle as fast as what a studio strobe does.
And they work on lithium batteries.
I'm shooting tethered so that you can see what comes up as I shoot, and I'm going to
start with one light, and what I did is, I've got a little, simple reflector on here so
you can see what we've got there.
It's slightly diffused.
If you've ever done any lighting work at all with models or with people, you should be
anticipating, this is going to be fairly harsh, strong light.
Probably not the most flattering thing in the world.
And all photography's about problem solving, so right before I came on here, for whatever
reason, my trusty Sekonic flash meter died, so we're going to do it old school, okay?
I've got this strobe set at about 1/16th power, so I'm going to let you see everything, and
I'm not going to hide any of it.
I'm just going to go ahead and do one quick test shot, and indeed it is overexposed.
You should see it pop up here momentarily.
Guys, it's okay to put that up.
I'll show them the good stuff and the bad stuff.
I'm going to turn this down about two steps, and we're going to go again.
Alright, so we're in the ballpark here.
Now if we just kind of look at this, it's dramatic, not the most flattering thing in
the world, but you saw the kind of pictures I do.
I've got to have a whole lot more going on than that.
So I'm going to do two things here.
One is I'm going to bring this light a little bit closer, and let's get some of our cool
props back here.
Since I did the sunglasses in the little intro, let's do those really quick to show you how
that works.
Let me give Shayla these sunglasses to work with.
And she's done this one a couple times, so she already knows she's going to look up towards
the light.
Now in the past, here at WPPI and in that video clip, I did them with a soft box.
This time, it's just the small diffuser.
So we're going to go and we're going to see if we can get kind of a big bright spotlight
in the middle there.
There we go, and then what we want to do is we want to play around with that.
Look up there again a little bit more, and I want to see if I can get it centered just
a bit better.
One more.
We're getting close.
So if I was going to shoot this all the way through, my goal would be to get those two
dots centered in the glasses.
But for me, it still needs some more.
This is where I'm going to go to a second light.
For the second light, I'm going to set behind her to light this wall.
Now we can go ... let's turn that on.
They always work better when you turn them on for some reason.
I don't know.
Alright.
Just from having done this a bunch of times, usually if I throw a light back there, I'm
going to go ahead and I'm going to set it up at full power and let it just go and see
what it gives me.
Why?
Just to see what it gives me.
I have an idea of where I want to go with this, but every now and then, I'm surprised.
The last time I did this talk this morning, I did a shot with some aluminum foil, and
I intended to do it on a white background, and just by chance, the flash didn't fire,
and the black background looked ten times cooler than what I had in my head.
So we went down that path with the black background.
So now, we're going to try the same thing.
Good.
Nice.
Alright, so there we've got the hot white background, okay.
Very dramatic.
The reason why I went with this small modifier first, and I want to teach you a little lesson,
and this is a bad word to so many people, so please don't leave when I say it ... actually,
it's a phrase.
When you want to learn lighting, lighting doesn't have to be difficult, but when you
want to get good at lighting, you have to learn about the inverse square law.
Period.
It's not really an option if you want to get really good at lighting.
The short version is, the inverse square law says that the closer your subject is to your
light source, the faster the exposure falls off.
The further away the subject is from your light source, the longer it takes for the
exposure to fall off.
You can see in that shot, the shadows along the camera ... right side of her face are
very sharp and they're defined, right?
So just to show you the difference from modifiers, because this is a very small light source
we're using at the moment.
I'm going to go ahead and I'm going to put a speed light head on top of this flash, and
I'll use a modifier, and again, just to keep it simple, we're going to go with a simple
shoot through umbrella.
If you haven't done a lot of lighting before, if you're thinking about getting into lighting
and you want to learn it, this should be your best friend to start.
It's not as cool and sexy as some of the modifiers that you're going to see around the hall.
So if anybody from one of those companies comes after me, I need you to protect me,
okay?
You can buy one of these for less than 20 bucks.
My favorite one happens to be the Photoflex one.
You can use it as a regular umbrella and reflect light this way because it's satin, or you
can shoot light through it to get it a little bit softer.
So for the sake of this shot, let's go ahead and do two versions real quick.
You're going to see three different set-ups with the umbrella and how it changes the light.
Okay.
Now this will also change our exposure slightly.
So go ahead, good.
Awesome.
I'm a little darker, so now you can see.
I'm going to let you see these.
That's knocking out probably a stop and a half to two stops of light.
Why?
Umbrellas are not the most efficient light source because it's throwing light everywhere,
but it's easy, and you can already see that hard line from the shadows, it's not there.
So if I adjust my exposure, let's go down about a stop and half here, we'll start there.
We're going to go one more.
We'll go to there.
So now, another one is going to pop up.
Now you see how soft that is.
In fact now, we're getting soft enough, my background's almost getting a little too bright
and I should dial that down.
But you see the difference that that modifier creates on the light in the face.
And then we can take this same light if we want to, and we can spin it around one more
time.
Back it up a little bit, and now we're going to use it as a shoot through umbrella.
The point is, umbrellas have lots of versatility.
And I'll give you a little tip.
I mentioned beauty dishes before.
With a little bit of practice, if you put this close enough to your subject, you can
create the exact same kind of light that you get from a beauty dish with an umbrella.
If you don't believe me, try it, or check out the video on YouTube.
Let's try another one here, again, we'll see what our exposure is and make some adjustments.
Sorry, here we go.
I want you guys to be able to see it.
Good.
Now we're in the middle.
We have a more rapid light fall off, but still not a hard line, just by switching the modifiers
around.
The trick is, when you get these modifiers, I don't care what you get.
If it's a soft box, an umbrella, you need to experiment with them, you need to play
with them.
Don't just think you can only use it one way.
For me, since I already did that other picture that you saw, I'm bored with this whole white
thing.
I want to make it a little bit more interesting and I want to get some color into it.
So sadly, I'm old enough that I remember the '70's.
We're going to add some color here.
She won't admit it, but this is her favorite one.
We're going to wrap this around.
That's it.
Good.
Really good.
Pretty.
Awesome.
Now that white background, that would be a little bit too much, so I think we're going
to go ahead and do a blue background for this.
I'm just going to pop a blue filter over that, and let's see where we're at here.
The variable now ... I didn't change anything here, so I know I've already got my exposure
on her face dialed in.
The variable is going to be, where am I at with the blue filter?
I didn't change the power setting on the flash, but I added a filter in.
Chin up just a little bit.
Good.
Cool.
Okay.
Then we get our blue.
So we've got the green, we've got the blue, we're starting to add a little bit more drama
to it.
And again, if we're doing it for real, we're going to experiment a little bit with getting
those reflections centered in the glasses.
I'm not going to do it this time because I want to play with some other tricks, but I'll
give you one more little tip for this idea with the blue gels.
As much as I love the gray, people overlook the idea that you can change the color of
a black background.
If I were to roll that black background down, put the blue gel in front of that, I would
have to turn the power up a little bit, I'll get a blue glow, but it fades to black and
it fades much faster, so it becomes really dramatic.
And if you were watching in the pictures that went by in the beginning, that's the way that
I did the one that went by in the beginning.
It was actually a black background with the blue gel.
Alright, so I'm going to take these pieces from Shayla.
It's in your hair?
Sorry, dear.
Alright.
Cool.
Thank you.
While we have these lights here, and while I have the light int he background, I had
an idea before I came to WPPI, and I thought, "This is going to be one of my dumbest ideas
ever."
And for whatever reason, people seemed to like this idea, so we're going to do it again.
How many of you cook while you shoot?
Or better yet, are you into sci-fi?
My wife is really into sci-fi.
I can't stand sci-fi.
I'm going to take some aluminum foil, and I'm going to roll out a nice, big, long piece
here.
And the whole point behind this is just to show you that sometimes the least obvious
things are the best things.
You've just got to play with them and see what you come up with.
Keep in mind, most aluminum foil has two different sides.
One's the really shiny side, one is the dull, matte side.
I'm not kidding when I say I don't like working any harder than necessary, so I will work
with the dull side.
I don't want to make my life any more difficult than it needs to be.
So I'm going to crumple this up a little bit because I want texture.
I want it to be sending light in all different directions.
And once we have this crumpled up, alright, now what you've got to do, you've got to dig
deep, really deep.
You've got to find your inner fashion designer, because you know you've always wanted to try
it.
I'm going to take this, and I'm going to create a very futuristic collar right down here,
like so.
And this is actually kind of cool.
This is different than the way we did it before, and different is fun.
So now, let's just take a test shot.
I took the blue gel off, still have the same light here, and I want to see where I'm at.
I can already see one thing I want to change, but let's do the test shot and then I'll tell
you what that change is, okay?
Right here at me.
Somebody, somewhere along the line, had this really bad idea ... bad for guys like me,
they decided that models should be tall.
I don't know whose idea that was.
Here we go.
That's it.
Nice.
This is kind of cool, but it's still missing some stuff.
I think what I want to do here, we need to dress it up a little bit because I want to
do classy sci-fi.
I think that's what we need.
It's got to be classy.
Let's see where ... did I lose my little collar piece?
Uh-oh.
Alright, I have another one.
Let me do something different.
By the way, fabric stores are your best friend if you do this kind of photography.
Go to the clearance aisles, buy little bits and pieces, leftover stuff, anything you can
find, it's great.
I have a lot of fun with it.
You know why?
If you've never been to a fabric store, it's always little old ladies that work there.
I come up to the counter with all these crazy materials, and I look at my watch and say,
how long is it going to take before they're finally cutting the material and looking at
me and saying, "Okay, what are you going to make?"
Every time, okay?
And then I have to explain that I'm not really making anything, let's see.
Get a clamp.
Alright.
So I'm going to remove this.
I've got to be careful with that now, because it's officially a fashion piece, and I'm going
to go ahead and create a little collar here by taking this trim, it's just trim that you
find in a fabric store, and since I'm not going to see it all, I'm not worried about
how great it looks back here.
I'm actually going to clip it to her ponytail.
Is that okay?
Good?
Yeah, that will be cool.
Now we're going to reattach.
Remember, when New York Fashion Week comes up, you saw it here first.
Alright.
And, same light.
I'm still not going to change the light, I'm going to work with this.
Right here, Shayla.
Awesome.
Now just a tiny little bit, I want you to turn your face, not your shoulders, just your
face, and a little tilt.
That's good.
Right here.
Good.
Let's get a little closer.
Same thing.
Awesome.
Now I'm kind of liking that, but if I'm shooting a shot like this, what's one of the first
things I told you?
Work your shot, right?
I'm going to go ahead and I'm going to try some different variations here.
Bring your eyes right out past here, right there.
Let's see.
What happens if we get that spotlight in the background?
Probably nothing, but we'll try it.
Yeah, that's not a good one.
Okay.
There we go.
Now keeping it right there, just bring your eyes right to the center of the lens.
Good.
Nice.
Okay.
See how many different options and variations?
Some of you like one, some of you like another.
There's nothing that's particularly wrong.
I said earlier today that when I was trying one of them, some with the black background
turned out a lot better, so I'm going to turn that off.
There.
You'll be able to see.
It's not firing.
This is the one that I tried and the black kind of looked cool, so let's back up here.
There we go.
And if you like more drama, there's more drama.
Especially with that collar, it almost looks a little more elegant, right?
There's the lessons.
Number one, just by switching out that background, the picture has a whole different feel.
It kind of speaks to you differently.
The most important thing for you to understand when you start trying this stuff, there is
no right or wrong.
Right or wrong is defined by what do you like.
And most importantly, I shoot mostly women, I live in fear of ever making a woman look
bad, ever, so they're really important.
It's your client and you in terms of deciding how the shot looks.
Alright?
I want to go ahead and try one more crazy thing here.
There you go.
Okay.
I'm going to need an assistant.
If I could have ... Tracy, do you mind?
Shayla, I'm going to let you sit right here on that, okay?
We're going to actually get you to spray a water bottle for me in a second here.
Let's back this up.
It's not going to be on her.
She's like, "Huh?"
Okay.
There we go.
Alright.
I'm just going to do a test shot first, and then I'll get you the water.
Alright, so one of the things we're working on in the studio.
I learned this early on, when I started to get into this stuff, I started getting bored
with my backgrounds.
And backgrounds cost money.
Even if you're buying the paper ones, it still costs money, and you can start adding filters
and adding gels, but you kind of run out of stuff to do, so part of your task as a photographer
is to think outside the box and experiment and play with ideas.
What I'm going to do for this shot ... I have her sitting, so I'm going to bring the lights
a little bit lower, but we're going to keep it the same, because I wasn't kidding when
I said I'm lazy.
I'm not going to make my work any harder than it needs to be.
I'm going to bring that down.
You'll notice I have that light, it's now facing the back of her head.
So if I had my hairstylist out here, I could take a few minutes and we could tease her
hair out, and it would light the hair up, just like the picture you saw in the beginning.
But we're not going to go that route.
So let me do a quick test, see where we're at with it.
Okay that's going to be crazy enough.
So, now ... it's amazing how much stuff is in the air here.
Let's dial that down just a little, because I was going to put stuff in the air, but I
almost don't have to.
So what I'm going to do now is I'm going to give ... Olympus visionary Tracie Maglosky.
See this is what happens when they become a visionary, we put them to work, literally.
You're just going to kind of spray across there, steady stream.
When I say, "Go."
One of the ways that you can add to your background and mix things up is to find things that you
can put between your subject and your background that creates depth.
One of the easiest ones to do, you saw Shunn and Danielle using hairspray for the brides.
It probably would not be a good idea if they walked into somebody's house and started spraying
a water bottle around, so they sprayed hairspray, but I'm going to use water.
Tracie, if you can spray.
Nice.
Okay.
Cool.
You're doing great.
Good.
You see the idea?
And if we play with that for a little bit, and hopefully I don't need to state the obvious.
If we put a gel on it, we can make it even more dramatic.
I'm going to go ahead and turn it down just a tiny bit more.
Alright, Tracy, one more time.
Here we go.
Good.
Now, just a little bit.
Turn your face, come up to here, little tilt, look right out here past my fingers.
Good.
Here we go, Tracy, thank you.
That's it.
Awesome, you were great, Tracy, thank you.
Round of applause for Tracy, please.
Thank you so much.
Okay, here's the ones I was waiting for coming up at the end.
As soon as that renders.
Summary.
Have fun.
Play around with stuff.
I'm pretty confident none of you ever thought about wrapping somebody in aluminum foil for
a picture.
At least not for artistic reasons, right?
Experiment with things.
Play with color.
Color is a lot of fun.
Color has emotion.
You saw how the emotion changed just by going from the white background to the black background
on that previous shot with the aluminum foil.
There's so much that you can do, just think outside the box.
Don't worry if it's right, if it's wrong, play around with it.
And importantly, work your shot.
Don't be lazy.
Don't pick up the camera, take one or two frames, and then think you've got it and you're
done.
Play around and see what happens.
If I was going to shoot this shot in my studio for real, like this was my intended idea,
work with the water, work with the color, just to give you a benchmark, I would probably
wind up shooting between 350-500 frames to get the one shot.
They're not all going to be the same.
What would I be changing?
Why would I need that many?
I would be changing my camera angles, I would be changing her pose.
You notice, when I first did it, since I was being lazy, when she was looking at me, I
didn't have anything going on with the eyes because they were in shadow.
That's when I had her tilt her head and lift up so that I brought her face to the light.
I would experiment with the water in the background.
I would experiment with the intensity of it.
All of those are going to lead me down the path to finding the image that is finally
going to grab me by the ears and not let me look away, and say, "That's it."
Make sure that you guys hang around, Tracie is actually going to be coming up to talk
next, and if you like to see action stuff with long, flowing chiffon, she does some
really cool action maternity shots, and we've got Shaun and Danielle King, who will be back
later today to do some really, really cool stuff with brides and grooms.
Thank you for coming out to see me.
If you haven't seen me on YouTube, you don't know about this, but if you have seen me on
YouTube, you know how I finish my videos.
Please get out there, when you leave WPPI, pick up the cameras, use them, practice, experiment,
because your best shot is your next shot, gang.
Thank you so much for coming out, I appreciate it.
Thank you.
Shayla, thank you.
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