Learn Outdoor Photography Tips on a Shoot with Photographer Brandon Woelfel

– 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 some
nice streets to shoot on. But before that, let’s intro our model. So this is our model for
today, come on over here. – Hey, everyone. – This is Isabella, we’re
both based out of New York, so we shoot a lot around here,
we kind of know the area. But we’re gonna kind of
look through the outfits she brought today, and
figure out what kind of looks we’re gonna go for. – And I brought a few looks
that I think you would like. – All right, let’s see what you got. – Let’s go through this. – I think if we’re gonna
shoot 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 on
your pointe shoes of course. – Mm-hmm. – Yeah. Sweet. (upbeat music) So we made it to the first
location I had in mind. I kind of actually walked past here when I was meeting Isabella, I kind of like this
because of the two sides of the tree like intertwining. It can make for a really
nice perspective shot. I have my Nikon Z7 with me, but
we’re gonna switch to my 85, to make it a little bit more telephoto. Especially because we are
shooting 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 settings
from 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 gonna
boost up to just 160, we’re setting our shutter
a little bit higher because of the motion
we’re about to shoot. And then I’m just gonna go in
and change my white balance to whatever looks the
best 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 pretty
accurate to real life. So right now it’s kind of nice, soft light we’re getting back here, and
that way it won’t distract too much from the model
because of Isabella’s posing is a little bit more
complex than we’re used to, so we can have the background just be a nice, like
little 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 this
out, 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 right
in 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’m
holding 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 that
looks like you have the rainbow kind of in-frame, in the
edit, duplicate that, and post it to a photo that actually didn’t have the rainbow, and
then 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 really
fast when I’m shooting, especially when I’m shooting
with 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 around
trying to find some nice light with this golden hour happening behind us, we found the light, kind
of nice back lighting, through these trees right here, so I’m gonna have Isabella
stand 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 that
motion, 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 the
nice light we have right now to keep that ISO as low as possible. For this shot, we’re
not gonna do full-body just because there’s a lot of people coming in and out, so
we’re gonna shoot waist up, and I’m gonna have her focused before she goes into the
motion, just to make sure I know where she’s about
to 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 is
really harsh behind you, so you’re kind of like
silhouetted 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 just
switched my 85 to my 35, just ’cause we’re getting a little bit closer in on her, but I
also 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 actually
move down just a bit ’cause of this trash. So, we still have some
golden hour happening, we walked a block down
to 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 just
doing one single motion, I’m just gonna do single shutter. So I don’t get too many
photos, 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 lens
from my 35 to my 58 1.4. Just ’cause I think that
this shot I’m getting, will look a little bit
better with the background slightly more blurred, and
since 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 our
way down to the skyline where golden hour is happening, I kind of stumbled upon
this little pathway. And this is something I really like because it doesn’t look like New York, so it adds some kind of variety
in the shots we’re getting. So we’re gonna have Isabella
right in the middle of this, I have my 85 on, so we can
kind of get that depthy look with our telephoto, semi-telephoto lens. And my settings are pretty
much the same as earlier, so. Let’s get you right in
the 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 walk
to 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 Isabella
pose against this railing. I also have my 105 millimeter on, so we can kind of get rid
of 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 a
pretty 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 took
a test shot with the 105 and I actually didn’t love it. You couldn’t even see really the skyline ’cause it was super up
close 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 bit
lower 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, do
that 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 my
model move when she’s posing in kind of like a slow, authentic way. So I want to make sure I’m
capturing all those little shots. 1/250 right now is perfect just for that. But you can also change it if you want to play
around with more movement, I just like to make sure that we’re getting some
crisp, clear shots, and nothing is out of focus or blurry. So we just finished up
taking our daytime portraits, it’s definitely getting
a 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.

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