Episode 16 - Coaching Session: Confidence and Communication
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Episode Transcript:
Matt Korinek: Confidence and communication.
Those are the topics that Yanis Hofmanis and I discussed in our coaching call. You can find him over @hofmarkphotography on Instagram.
If you've ever struggled to communicate with models or are looking for, or some additional tools, I share some concrete tips that you can action, in this episode.
We also touch on confidence, and I'll be diving into that way more deeply in my series on building confidence as a photographer. And that will be launching soon.
If you don't want to miss it, hit subscribe to follow along.
I 'd love to hear from you what your biggest takeaways are from this episode in the comments on YouTube.
Hey, it's Matt and welcome to the Photo Proventure Vlogcast. Let's get into it.
Hello Yanis. Welcome to the Photo Proventure Vlogcast.
Janis Hofmanis: Hi, Matt. I'm glad to be here.
Matt Korinek: Welcome. Welcome. I think it's so interesting that you've reached out about this coaching session because I believe it was maybe a year and a half ago, I was selling something on - I think it was Craigslist - it was a modifier and you actually bought it from me.
Janis Hofmanis: Yeah, it was a soft box, which I still use. And it's been very useful to me.
Matt Korinek: That is so cool. So the first question that I like starting these coaching sessions with, to learn a bit about you is how did photography find you?
Janis Hofmanis: Actually very interesting. And I was thinking about this question before our meeting . Actually turns out my great grandmother was a photographer . And my grandfather was a photographer.
But when I started my photography, I never thought about that. It just only came to me after. I studied graphic design in Europe in Latvia and we had a class, a photography class. Which I found very interesting.
And we had an awesome professor. And just gave us some film cameras, and I was like, wow, that's something. I remember it was a class, it was pretty rainy day. He said to go out and to take photos, whatever we like.
And before that he gave us some very basic instructions and just like. What is aperture? What is, and how
to
Matt Korinek: a few things to get you started.
Janis Hofmanis: Yes. And when we saw the photos, I was like, wow, the depth of field that's something way, way better than I could get. Back then phones came with really bad cameras, but with these old point and shoot cameras, which we all have used probably before, it was something way better.
I've really liked that. And I think that's something that the professor just planted some seeds and that they just grew in me.
Matt Korinek: That's super fascinating because I think one of the things that drew me to photography in the first place was also that shallow depth of field look. And the fact that you could really separate someone or something from the background. And I'm actually like really blind if I don't have my contacts in, I can focus probably about this far in front of my face.
And so when I don't have my contacts in the world is just out of focus bokeh. When I don't have my glasses in and I look outside, I got these big out-of-focus balls of light and things are blurry. And so I don't know if it's something to do with that, but I've always wondered if maybe because my natural vision is that way that I'm drawn to images that have a shallower depth of field.
I don't tend to be that guy who aims to get everything in focus, but anyways, random.
Janis Hofmanis: Actually I'm wearing contacts too. And my vision is not that great too. But I like shooting shallow depth of field. But I'm now trying to move away from that because it can be too much. And of course you want to get the lens with wider aperture and to get that more light if it's necessary.
But sometimes I tend to do too shallow depth to field and sometimes I feel it's not good.
Matt Korinek: Yeah, I've been there. when I first started, I was as shallow as possible all the time. And then you start learning that, Oh, now that thing in the background, you've actually lost the context of what that is, and that actually adds to the image. Or maybe if you're doing a detail shot, you actually want a bit more sharpness or whatever that is.
So definitely as I've grown as a photographer, I do play around with my apertures more but deep down there's part of me that just loves that blurry background.
Janis Hofmanis: Yeah. I like taking shots of just some details and it works well in low light conditions. You see something, some detail and you want to get it. It's low light. And it's the shallow depth of field just separates from the background.
Matt Korinek: I'm with you on that one.
Okay. This is a coaching session. So I'd love to know. What would you like some coaching on today?
Janis Hofmanis: I think one of my biggest problems is confidence on a set where I have a paid shoot and communication with models. I found that what some models it's very easy. They will do their job. They will move a little bit around.
But some people just like to get information from you: what do I do? What do I do with my hand? What do I do with my legs? Where do I look?
It's just, sometimes I feel like it's too much information. I'm focusing on a composition, on the background and then if you ask me where to put my hand, I get overwhelmed. That's where I would like to improve is this communication. How to communicate with models better.
Matt Korinek: How to get what you want from a model, no matter what their background is. That's what I'm hearing in that.
Janis Hofmanis: Yeah.
Matt Korinek: Okay. So I think we can focus on that and maybe that would help with your confidence as well. I'm sure that your confidence on set is related to a number of things that maybe go together, but perhaps if you're confident in directing a model that might help you, get a little bit more confident. And really to me, photography is all these little things put together to getting a great result.
So if we can just move you a little bit here in a little bit there, it'll help improve your work. And then over time, you're just going to keep adding little things until you're at a point where you're confident in your photography.
Janis Hofmanis: Mmm, that would be great. Yeah, I would love that.
I think it's a super interesting question. One of the things I've found - and you tell me if you found this - is that there are just so many different types of models, and some people move really naturally. Some people pose a lot. Some people just act their way through something.
Matt Korinek: I found, let's say lifestyle models, they have these amazing magnetic smiles that make me want to be their friend. And then sometimes I'll be working with a fashion model and I have them smile and I'm like, Ooh, maybe that's why they're a fashion model because their smile isn't as magnetic as maybe a lifestyle model. Whereas, the fashion model if they just look in her direction, you're like, Oh my God, what is that person looking at? They're so interesting. That's what a fashion model brings to the thing.
So I do think each type of model brings something different to the set and because you're the photographer, you still have to know what are some of the tools that you can use to get what you want from a model.
Janis Hofmanis: So one of the tools, it's not really a tool, I think, but. If I have a shoot, I really like to meet the person I'm shooting with the day before, or definitely before the shoot to just chat.
Just so we can get through this ice breaker phase, and that really helps me and I think for the model as well I don't know if you have ever experienced that.
Matt Korinek: That is often one of my first suggestions to people, because I think most people don't think about it is the relationship between a photographer and the model is a human connection thing. And so the earlier you can start creating that connection and the deeper you can create that connection in a short period of time. I think you're always going to have a better step forward than other times.
Now there might be times that you meet a model ahead of time and maybe you don't connect with them. So in those instances, who are you being in that moment? Are you being who you need to be to connect with someone? Or are you just saying, this is who I am and maybe we don't connect because there's sort of two different ways of looking at that.
Janis Hofmanis: Yeah. And if I haven't met the person I'm shooting with and you go to the shoot and you find something is off. this huge distance between us. But I always try to find something that drives the person or maybe just a little small talk, you know, how was your day?
And then you somehow try to understand where that person is coming from and something like that.
Matt Korinek: Yeah. I think one of the big things with both meeting someone ahead of time, and then being interested in who they are. The thing that it builds is trust. Because it's a collaboration rather than a I'm the photographer, you're the model. You do your thing. I'm going to do my thing. And there's people at odds.
Small talk is great, but I personally have found trying to find out some tidbits about themselves. Both helps build trust and it gives me things that I can bring up later to try to get a reaction.
So, for example, if I find out that someone has a brother or a sister, I can find out whether or not they have a good relationship with that person.
Are they silly? Are they very serious? Are they heartfelt? And then depending on what the shoot needs, I can be like, look at the camera like it's your brother.
And depending on who the brother is, if they're silly, then I might get a laugh, but if they are more of a heartfelt or a brother that they really love, maybe there's going to be a real connection with the camera.
It could be brothers or sisters, it could be dogs, it could be their favorite things. There's really almost no limit to what you can get into. But I use those things that I talk about and I try to bring them back into the shoot when I can.
Janis Hofmanis: I think that's very interesting how you mentioned that to our model, look to the lens that it's something that you can relate to. Like, it's your brother or sister. That's a very, very good tip I think.
Matt Korinek: I definitely do not want them looking at it like it's a camera.
Janis Hofmanis: Yeah.
Matt Korinek: There's no connection between a human being and a camera, really unless you're maybe shooting a Leica and that person loves the Leica brand or something like that. And they love that old school camera.
But at the end of the day, photos are about human connection. To me, at least that's how I try to create my work.
And so when I have people looking at the camera, I want them to see another human being. sometimes I want them to see me if we have a good rapport, but sometimes I want them to see someone else in their lives or a puppy or something else that they can engage with that they will feel something. Because if they feel something, their eyes will naturally bring it out rather than acting at, rather than me being like, Hey, could you be more happy?
It's hard to be happy when you're just thinking about being happy. But if you love dogs and let's say specifically corgis and I talk about corgis, the eyes will light up in a way that I can't ever direct them too.
Janis Hofmanis: yeah.
Matt Korinek: You know what I mean?
Janis Hofmanis: I would sometimes say if a model was asking me where to look what do I do? My favorite focal length is 85. I can be from little bit distance. And I would say, just act, I'm not here. If I'm going for these like very natural shots.
Matt Korinek: So in that case, I think what you're asking them is helpful. If they're the type of person who naturally moves. Because if you're just like just be you and just move, they might just naturally be movers.
But some people, honestly, if you're like be natural, they're like, why would naturally just stand here doing nothing.
Right. So in those cases, Think about how it is that you can direct toget natural movement. So for me, it's think of a scenario or think of a scene instead of I'm going to now look over there and then look over here.
Be like, here's the scene: you've just finished your run. You're breathing heavy. You have this feeling of accomplishment and just move in that.
And suddenly it gives them a reason to move. It's not just moving just for the sake of moving. It's a movement based on a feeling or based on a scenario.
Janis Hofmanis: I know that you shoot a lot of fitness photography and I think it's very important to explain person cause sometimes they would like to act how they naturally, they are in that way.
So it's important to tell them you just came from a run. What would you usually do? Yeah, you breathing heavily maybe, or even your head is down or you feel that you did something and everything is moving .
Matt Korinek: Yeah. And what you just pointed out though, is that some people's natural way of being actually doesn't look good on photos. So in those cases, I'll try to give them little tidbits.
Usually piece by piece, because I find when I work with models, I don't want to overwhelm them. Right. So I'm not going to give them 10 different things to do better.
I will pick the one thing that I think will make the biggest difference to that image. And then I will get them to incorporate that into the scene again.
So for example, with fitness, When people are tired or when people are working out, some people do a who sort of that type of mouth movement. Cause they're like that was tiring. And it looks like they're kissing the air.
And for some people, their face looks really good and authentic when they do that. And for other people, for me, at least it looks a little bit like they're actually blowing a kiss to someone. And they don't look tired.
So for them, I might say something like, don't purse, the lips just breathe in and out of your mouth from the back of your throat. So just like a, like that kind of a back of a throat breath.
And then we'll do the exact same scene with that one note. And hopefully if I thought that the pursed lips wasn't looking good, that helps us get closer to a photo that still has the story I want and the emotion I want, but looks better than the original one did.
If that makes sense.
Janis Hofmanis: Yeah. That's good. Yeah. It's definitely a good tip is not overwhelm them with too much information.
Matt Korinek: I try to teach them not necessarily the absolute way of modeling. But I try to teach them what I think I need to get the shots I want.
And some other photographer might ask them to approach things a different way. I've just found things that have worked for me.
I think over time, I will continue to develop and change those things as I learn from different people. And, I'll meet another model who I don't connect with and I have to come up with a brand new way of getting something out of them.
Each time I'm faced with a model that I struggle with. I learn something. Because I think about what could I do next time? So that, that doesn't happen again.
Janis Hofmanis: That's the creative solutions that you talk with your previous episodes.
Matt Korinek: Exactly, exactly. And for example, I might tell them, what feeling I get when they look different places.
If someone's outside and they're looking up, that might be more like dreaming. I'm thinking about I want to create, thinking about my goals. It has this sort of uplifting feeling.
Looking straight ahead is a bit more stable. It's a bit more focused. So if I'm looking for some sort of determination, I think looking straight is a good way of going about it.
And then looking down can be either I'm really tired or it could be something like I'm thinking to myself, depending on the rest of what's happening.
If someone's like, where should I look? These are the feelings I get from looking at those different places. Now you pick, you move through them.
And usually because I'm shooting so many different assets, I need one, that's maybe optimistic, one that's more focused and then one that's more tired.
So giving them all three of those options and having them feel what those different body positions do to their inner feelings can make a difference too.
Janis Hofmanis: Yeah and that is basically, I think our other topic. They go together really well is communication with the model. If this is where you're going to look, the photo will end up looking like this. Or the other way. So you communicate with the model.
Matt Korinek: Yeah, so again, it depends on the model. Like some models come in and they honestly are so amazing that I don't feel like I have a lot to add with them. And so for them, a lot of it is like, Providing them with positive feedback, showing them the photos we really like so that they can be like, okay, they're liking this let me continue doing that.
For other models, because they're either newer or less experienced with fitness specifically, or just less experienced in general. I might be giving them a few more tidbits.
Again, I'm usually building it one thing at a time. I don't start out the shoot and be like, here are the 10 things you need to know to get a good picture with me. Right?
Then we start shooting and I see what's missing. And then I try to figure out what I need to build up from there.
And then, sometimes I will tell people where to look, right? Like maybe there's a moment where their body is in such a position that if I wait for them to look somewhere, maybe they'll move positions. And suddenly that changes the emotion of the photo.
So maybe if they're in this position, I say, look towards the light or look over the shoulder. That'll give me the look and the feeling I want. But I don't want to get into the habit of being like, look here, look there, put your arm here, put your arm there.
For me, for my style, I think there are some photographers that do that. And that's fine, I think everyone has to find their own method or approach. I can just share what sort of works for me.
Janis Hofmanis: Yeah. No, that's great. Yeah.
Matt Korinek: One of the things I've actually recently started trying, which might be a cool thing for you to try, especially when you meet these models ahead of time.
But what do you think would happen if you asked them, what do you need from me as a photographer?
Janis Hofmanis: Wow. That's actually very, very opening .
What actually do you want from me as a photographer because we're a little bit maybe selfish as a photographer. So, you know, we are creating the photo and that's our photo but it's actually a model's work too. And they are also expecting something, please don't do this, please don't ask me that.
That's very, very good.
Matt Korinek: Even with the idea of, a model being a part of the result and they want to look good, of course. And your job is to make them look good.
There are some models who like to have a lot of positive feedback. Who want to hear you saying? Yeah. Beautiful, good job. Beautiful. That's cool. That's cool. That's cool. Some models want you to keep talking.
Whereas I think there's some models who are like, shut up. Let me do my thing.
I don't want to hear what you're saying. I just want to be in the moment and I want to feel it and I just want to go through it.
So I think having those conversations on what you can do to support them in them being as comfortable as possible because to me that is like the bare minimum.
If I have a model that's uncomfortable. I find that the photos are never as good. Because they never opened themselves up to me the way that I want them to. So my job, number one is always getting the model as comfortable as possible.
And sometimes that means when they aren't doing a good job, I'm still giving them positive feedback.
Because especially with people who aren't experienced, part of it is they're stiff. And when you start telling them that they're doing good, suddenly their muscles relax and they start moving in a more flowing way. Most of the time, some models still don't.
But most of the time, just giving someone a little bit of confidence, makes all the difference.
Showing them a great shot and being like, look how good you look. And then going back to shooting.
Janis Hofmanis: I would take sometimes pictures of my wife and she really likes to see right away, basically after 10, 15 shots she wants to see right away.
With other people, I just naturally, and especially with outdoor shoots with natural light, I just get these emotions and I can't control them.
It's like, wow, I have to look so amazing. And that works both ways. The model feels that, and it's all of the sudden it's completely different shoot, then everything goes more smooth.
Matt Korinek: So, how can you find a way to make sure you're always creating those moments? Whether or not you're feeling it quite to the same degree?
Janis Hofmanis: I would probably follow my experience in the past.
I would really like to meet the model before the shoot. And when the shoot is just to have this talk and yes, you were right about small talk is not always good. You want to go a little bit deeper to find out something more about the person.
Then to find this connection, something that connects, there's always something that you can find with people that you might think you neve have never a connection.
Matt Korinek: What is it you have in common?
Janis Hofmanis: Yeah. And then during the shoot giving positive feedback, even when you feel like something is off, you still give the positive feedback and it might go into completely new direction and very smooth shoot.
Matt Korinek: What I'm hearing in this is. You mentioned that there's usually a moment where you get so excited that you can't contain it and you express this in some way. And from that point, the shoot gets better.
So I think there's like incremental, like good job. Good job. Good job. Good job building someone's confidence.
And then thinking about what is a good shot that you can get out of the way early. you know, you're going to love.
So maybe it's a really close up portrait that's emotional. Maybe it's a really far back shot where they're small in the frame and you see the whole thing.
Something that, you know you can get excited about because I think part of why things start going more smoothly after is because of that injection of energy. The fact that you saw something that you're so excited about, and even if the talent doesn't get to see the shot.
They feel that energy and they get excited and they're like, yes, we're getting something good. You know?
So what order are you shooting in so that you're sure that near the beginning of every shoot, you have that moment with your talent, no matter what.
I don't know if you've watched the Netflix documentary. I think it's Netflix on Platon. Or Platon, I don't know how to say his name.
He's like a portrait photographer. Who's very well known has shot many famous people. And one of the things that I found so interesting was he shoots film. So he doesn't even know how it looks, but early on in his portrait process, he gets like super excited about something.
And it almost throws the person off. Cause they're like, why are you this excited? But from that point, there's like this trust that gets built in that. And the person is suddenly more comfortable.
Janis Hofmanis: Is that something that he does intentionally he will literally think ahead that I will find something that excites me.
Matt Korinek: I mean I don't know. Right. I don't remember if he talks about it specifically. I do remember that it really struck me when I was watching it.
And it's something that I've been thinking about, how do I add it to my repertoire in a way that's natural to me. I don't want to fake it. I don't want to like, just create a fake moment of excitement to get the shoot going.
So that's why I'm thinking in my head, how do I structure the shoot so that I get a shot that I know I'm going to love? No matter what.
That's dope, no matter what the concept is that I can just show like, this is how good I can make you look.
Janis Hofmanis: Also returning to confidence. What really helps me is if I know the location as well. For me, it's a very, very important thing.
Sometimes, yes, you have to deal with creative solutions and thinking on the spot. Brain is spinning super fast, but knowing the location is very important for me, it really, really helps me with confidence.
Matt Korinek: Well, I think knowing in general is good for confidence, right? If you know how to do artificial light, it's more easy to be confident than if you've not done it much before. So knowledge and experience create this feeling of trust that you have with yourself, that you can do it. And that's really what confidence is.
And so the additional layer of confidence that you can build is by putting yourself in more situations that are uncomfortable and figuring your way out of them. Because suddenly, once you're faced with that same situation. You're like, I've done this before. I know I can get something good out of it.
And you trust yourself that suddenly I can do this. Even if I haven't location scouted it. Now would I prefer to location scout? Always.
But do I know that I can still make something work? Yeah. I'm at that point where I can, I think in the majority of cases, I can make things work.
Now I will be faced with something in the future where I show up and I'm like, I don't know how I'm going to make this work, but by going through that process at the end of it, the next time I faced that similar, terrible location, I will be more confident because I'm going to look at my photos and say to myself, what did I do wrong? What could I do next time? How can I make sure that if I'm faced with this again, I get better results.
Janis Hofmanis: Yeah. Also, probably going to a shoot a little bit over prepared than you thought. Maybe grabbing some extra gear that you thought, Oh, I don't think I will need this, but , it's better to grab it with you if it's not too heavy.
Matt Korinek: Well, I find that with gear, if I leave it at home, I definitely need it. And if I bring it to set, I usually don't use it.
I've learned that there's this weird mixture of preparation and being in the moment and preparation can set you up and you can still fail. Being in the moment you can fail.
So to me, I can control preparation. So the more I prepare, at least that's taken care of. And then the being in the moment, you can't prepare for that. So you're just going to have to deal in the moment, no matter what.
If you don't prepare and just rely on being in the moment, If neither of those things are working for you suddenly you're in real trouble. Whereas if you prepare and then things aren't going well in the moment, at least you prepared, so you have some backup stuff, right?
Janis Hofmanis: Yeah. Yeah. That's gives confidence. Definitely. Yeah.
Matt Korinek: I think the more I fail yet still make it through. And have people like the images, the better I've gotten
If you look at my work at all and you think that there's something good in that, it's because I've literally made so many mistakes over the years. And each time I come back from a shoot and I see something, I don't like I analyze the crap out of it.
What would I do next time, especially when it comes to models. Because for me right now, I'm really focused on emotional range and how the image feels.
And so for me, I'm always now looking at what did I do with the model? What could I have done differently? What was I missing in terms of emotional range? How could I have gotten them to feel the way I wanted them to feel?
I'm always looking at that stuff even today.
Janis Hofmanis: Yeah. Sometimes I come back from shoot and my wife really likes to see the photos. When I thought, Oh, I didn't like the shoot something was not good.
She would say, Oh, well really nice photos. I really liked them. And then I would look through the photos and I would a little bit analyze them and see, well, what is that, that I didn't like but she likes. Because I took the photo, I was at the moment right? There's definitely something about the photo.
Matt Korinek: It's interesting because my experience is I will bring the emotion from the shoot into my edit. And so if I really got along with someone, I fall in love with them in a way, right? And so when I see a picture of them smiling, I might be like so connected because I'm like, yeah, that's them. That's really them.
But you show that picture to someone else. They don't have that connection. And they're like, it's just someone smiling.
Whereas another shoot where maybe there isn't as much back and forth with the model. I might come of the shoot and be doing my selections and being like, Oh, that sucks. I don't like it. I don't like it.
But then someone else sees something in the photo and they love it. And so I don't think that how a photographer necessarily feels about a shoot is equivalent to how much other people are going to like it.
People don't care how hard or how easy something was. Like sometimes photographers, have such a big setup and they have set up all these lights. They put in so much work, they get this one shot, but if people don't like the shot, it doesn't matter.
Some of my best shots are ones that took no work. And sometimes it feels like a freebie, like I don't deserve it liked because it was like just good light or something. Right?
Janis Hofmanis: Yeah. I've felt that before. And I think This is something that landscape photographers sometimes face.
My friend, he loves shooting Vancouver and he's a landscaper. And I was like, wow, that's a great shot. He said, yes, it is, it took me three hours to take it.
I was like, what? Oh, well I was writing for the right moment.
And we don't, know that, but sometimes it just happens. Sometimes you have to wait and for landscapers it's nature. Right?
But for us who shoot with models, we create this moment or sometimes it just happens.
Matt Korinek: You never know when the moment will happen. I remember there was a shoot we did. It was in Tofino and literally we wanted a winter feeling. I think you've probably seen this on my Instagram. We wanted this winter feeling and literally all day it was sunny and felt hot. And so we shot all day and nothing was feeling great.
And then at night, as the sun was setting, cloud started to come in and it started feeling pretty magical and we got some really nice shots, but that was probably in the span of maybe an hour, maybe two, probably an hour and a half, something like that. So I wasn't sure if we had enough assets to actually fit the whole story together.
And you're like, well, we'll just make, do with what we got the next morning, because we stayed overnight. We got up, we were sitting down to have breakfast and we looked out over the water and there was this beautiful mist, like magical. And so literally we looked at each other, we were like, we got to go out and shoot.
So we went down, knocked on the model's door. Woke him up. Was like, dude, are you willing to get out there? Because the conditions are so magical and we spent another hour in the morning, maybe even less than that shooting before the sun came up and all the mist disappeared, but I got a ton of other great images.
And so the total shoot time was maybe two hours of great shooting, but I shot for 10 hours in total or something crazy like that. But only two hours of that was magical.
And for that, it was like you had to wait for it. And you had to create the moments when it was happening. So it's a bit of both, right.
Janis Hofmanis: Yeah. I don't remember who said it, I think it was a famous photographer, but the idea is that sometimes a photo is just a beautiful mistake, but the more you shoot, the more, you can create beautiful mistakes.
Matt Korinek: I love that, that, that actually connects to the idea I have. That I know that I'm lucky to have the job I have, to be able to do the things I do. And I believe I create some of that good luck through hard work. If I just sat back and waited for good luck, it wouldn't happen. You have to work hard to create the moments for good luck to strike.
Janis Hofmanis: Yes, exactly. I totally totally get what you're saying. Yeah.
Matt Korinek: Okay. So I think that's probably about how much time we have for this coaching session. I hope you were able to get something from it.
Janis Hofmanis: No, definitely. You gave some really, really nice tips, and I hope that your viewers also will get something out of this.
Matt Korinek: Awesome. I'm really keen to see how you take this new sort of approach or new things and work them in. And if there's a time that it really works, please feel free to tag me. Cause I'd love to see that you took an action and the results you got out of it.
Janis Hofmanis: No, thanks, Matt. Yeah. I'll do that for sure.
Matt Korinek: What a fun conversation that was, if you're interested in a free coaching session with me, head over to photoproventure.com/coaching and fill out the form.
I'm super keen to hear what your biggest takeaways were in the comments on YouTube. And I'm even more keen to see you take action and try some of the techniques we talked about.
So try one new thing, and get closer to the photographer. You want to be.
