January 6, 2025 • 39 mins
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Hey! It's Brittany Porter from BPosh Photo, I'm sharing my journey from an introverted photography enthusiast to a professional capturing the essence of motherhood. Through a detailed exploration of camera settings and the importance of including moms in family photos, I inspire listeners to document their lives beautifully.
• Discusses the impact of being a mother on photographic goals
• Shares experiences capturing kids' early moments and how it changed her approach
• Explains the crucial role of camera settings in producing quality images
• Provides practical tips for beginners on aperture, shutter speed, and ISO
• Encourages listeners to experiment with photography at home
• Offers insights into personal growth as a photographer and the journey of memory-making
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey, mama, whether or not you're trying out your
camera for the very first timeor you've been doing this a
while and just looking for somecreative inspiration, I've got
all that and more.
I'm here to help you see yourworld differently, challenge you
creatively and find yourpassion for photography.
My name is Brittany Porter,with Be Posh Photo, and I have
(00:21):
been doing photography for along time now.
I went professional, I think,like in 2010, right before I got
married, and I was originallydoing video editing for
commercials, but before that, Ihave always loved photography.
I took photography in highschool, doing film photography
(00:43):
in the dark room.
Then I continued in collegedoing film photography in the
darkroom.
Then I continued in collegedoing film photography and then
later switching to a digitalphotography editing class.
That just helped me learnPhotoshop and I knew I wanted to
do something creative.
But my dad was in the realm ofadvertising and graphic design
(01:09):
and that just was not what I wasgood at.
But I did love video editingand photo editing.
There's something magical aboutthat that I could spend hours
and hours doing that and I feellike I never can learn enough.
There's never a top to reach.
There's always more to learnand experiment with, and that's
what I love is that I don't getcreatively bored.
There's always something elseinspiring me to do something
(01:30):
else.
So after that I actually hatedtalking to people.
I am more of an introvert, andso when I thought of the idea of
photography, I was like I thinkI'm just gonna do nature.
Like I think I'm just gonna donature, like I think I'm just
gonna do things that don't speakto me or that I don't have to
um step out of my comfort zoneto really do much.
(01:53):
Um.
But then I mean, nature doesn'treally pay, especially right
away.
So I started my photographywith um first of all
photographing friends and thenputting ads on Craigslist to do
uh model, uh portfolios.
So I had a couple people umvolunteer to let me photograph
(02:15):
them more high fashion ish Um,but not really because I had no
idea what I was doing.
Um, not really because I had noidea what I was doing.
And then I started doing peopleand their dogs.
So I would go to Freedom Parkand I would ask people if they
would like a photo with theirpet, and then I would give them
a business card and then I wouldtell them I would send them
(02:36):
their photos for whatever price.
And that only happened maybelike twice, because it turned
out to be kind of sketchy.
So I had this new camera, wasdoing photography stuff and I
started doing a couple weddings.
Some people hired me to gophotograph their wedding and I
(02:56):
was a solo wedding shooter andthat scares me now a little bit.
I did not even have likemultiple memory cards.
I had like two cameras at thesame time going back and forth.
But then once I had my firstchild, everything changed and I
was wanting pictures of her andI mean, as a first time mom,
(03:20):
it's like you just went to warpretty much that's what it felt
like and the last thing I wantedto do was really pick up a
camera or have my photo taken.
When my husband's grandma wouldcome over and just tried to
take pictures and I'm like Ilook terrible, I don't feel good
and I was like I have a camera,I'm just to take my own newborn
(03:44):
photos.
Well, at that time everythingis stuck in JPEG, which means
whatever way I edited, thosephotos are stuck like that.
So that's one thing, and thesecond thing is I'm not in any
of these.
I'm not in any of them with her.
That I like the way that I look, or that are beautiful or
(04:06):
timeless.
And so when I have, herbirthday come up every year and
I'm like looking at things topost and I'm like these are all
terrible.
These are either like iPhonepictures that I mean, as the
iPhones get better, they getbetter quality, but this is like
old, it might even be.
I don't even know if I had aniPhone.
Honestly, back then it couldhave been a Blackberry.
(04:27):
No, I think I don't knowanyways.
So the newborn photos were notgreat.
She was like a month old by thetime I got around to feeling up
to taking them.
I didn't know newborn etiquettewith keeping babies safe, so I
would put her in a basket tryingto mimic a Pinterest photo that
I saw, and the basket would tipover.
(04:48):
I mean, luckily there was apillow in there, but I didn't
realize that you need to putlike a weight or something in
there so that it doesn't fallwith a newborn baby in it.
She was bigger than um,obviously like a newborn within
the first week, and so gettingsome of the photos are just I
don't know, like it's notsleeping baby cute it's.
(05:09):
I mean she's cute obviously,but the photos looking at them
now I like cringe and thinkingabout, like, oh well, photos for
, like, her high school yearbookor for a slideshow at her
wedding.
I have nothing and I didn'twant to make that mistake again.
So the second time the secondchild I was like I'm hiring a
(05:31):
photographer, I want to be inthe photos, I want to have the
right timing, the rightexperience, all the things.
So I hired some photographersand, while I loved their work,
they were primarily weddingphotographers, and so it still
was like a month after I had mydaughter and, um, one thing I
(05:52):
didn't love was my outfit in thephotos.
So here I am like, okay, I dida little bit better.
Now I have a professional doingthe photos so that I could be
in them.
I have photos when she's likesleeping, but honestly, by that
point she was addicted to thisginormous pink passy and she
either wanted that, or to nurseor to cry.
(06:13):
So photos were still not up tomy like ideal what I saw on
Pinterest, probably.
And so then, the third timearound, I hired some of my
favorite photographers that donewborns and families.
It was a sister team.
They no longer do photographytogether, but that was finally
(06:37):
when I was like yes, I hiredhair and makeup.
Thank you, sabrina from LookLove.
And she came and did my hairand makeup.
All I had to be in charge ofwas putting on my outfit,
picking out my kids' clothes andjust making sure my baby was
fed.
That was it, and it feltamazing and I love those photos.
I probably wouldn't have goneas dark in my color scheme, but
(07:00):
that was my thing then and thathas pushed me to really have a
heart to get moms in the photos.
When I look back at my childhood, photos there are I mean,
cameras were very few, it wasdisposable cameras, pretty much
film and the memories that Ihave are really like from the
(07:23):
pictures that I've seen.
The memories that I have arereally like from the pictures
that I've seen, and my dad wasthe one that was really about
pictures or art in general.
So I have all these memorieswith my dad, but I'm like I
don't have that much with my mom.
Like when I'm looking forpictures I'm like where, where
is she?
What was my childhood Like?
What was this Like?
(07:43):
I wish that I had more photoswith my mom and it just.
Photos create memories and theycreate like this, this ideal in
your mind of like what life waslike you know, back then.
It creates like the feelingbehind a memory, and so I love
(08:03):
that aspect of photography andjust combining all of those
things with getting moms in thephoto, having your baby's photos
done right away so that theystill have that newborn
sleepiness, they still have thattiny, tiny body and hands and
face and feet and all thosethings maybe they still have
their belly button thingattached and giving moms outfits
(08:28):
to just put on and guiding themthroughout the whole process of
what to wear, what to do andthen how to show up beautifully,
so that you can freeze time andbeautiful moments with your
baby.
And then the next day you canput sweats back on, you can put
on your burp cloth and spit upclothes right after, but for
(08:50):
that moment, just to have alittle bit of time to get ready,
to feel like a human again, totake a shower and do your hair
and put on a little makeup, likethat just makes you feel like
okay, got this.
It empowers you, it helps youfeel beautiful and you know that
you have done something foryour child.
(09:10):
To look back on later and belike, wow, that was beautiful,
my mom is so pretty I can'tbelieve that she just gave birth
and she looks like that.
You know, like we're so hard onour bodies and so hard on our
experiences right after laborand it is such a beautiful thing
and I'm like, so appreciativeto be able to capture that for
(09:33):
moms.
So that's kind of what I do andwhy I do it.
And then I continue pretty muchjust reinforcing the fact that
moms should be in photos.
So whether that's six monthsession, whether that's Mother's
Day, whether that's, you know,christmas card photos, like I
want moms to be in the photosand I want them to feel
(09:55):
beautiful.
So that's pretty much what I doand why.
Now I want to take all that Ihave learned and am currently
learning and still working onand pass that along to you so
that you can take yourphotography to the next level,
(10:15):
or maybe that you can take thatcamera that you just got for
Christmas or that has beensitting around collecting dust,
and open it up and figure outwhat are these, what are these
modes, what do I do?
How do I take manual photos?
How do I get some things blurry, something sharp?
How do what do I look for?
(10:36):
How do I get kids to sit still,how do I place people in the
photo?
All those things is things thatwe're going to cover throughout
this podcast For 2025, I amexcited to bring this podcast to
you first and then, hopefully,I am developing a mini course
(10:59):
that will be like if you arelistening to this podcast and
you're like, wait a second, Iwant to see what you're doing
Like this doesn't make senseaudibly, I need to see things
visually.
Then that will hopefully beavailable to you this year.
Just to take it a littlefurther, I also obviously want
(11:21):
more newborns.
I love newborns.
Most photographers either lovethem or hate them.
I just have found such a rhythmwith them and I find I hate
looking up locations.
Sometimes I hate looking at theweather and it's like, okay,
newborn.
All I have to do is the momtells me she's had the baby.
(11:42):
We find a time that week andboom, I'm there, it's at their
house and everything goes great.
At the end of the year of 2024,I used ChatGPT a lot for my
marketing and I hope to continuethat more in 2025, because I
was really starting to find moreof my ideal clients and we'll
(12:05):
kind of talk about that laterwith business kind of stuff, but
I never want people to feellike they have to fit into a
mold of what I photograph.
I want people to look at myphotography and say, yes, that's
me, or I love those colors, orI already have so many neutrals,
or I just love the way that youcapture families.
(12:28):
I want people to just feel like, yes, that's me and let's book
her because we align and we havesimilar styles.
Like when I find those clients,I'm like, yes, like I want to
edit this forever, I want tophotograph this forever, and
that I feel like is ideal.
(12:49):
I don't want to make peoplefeel like they're put into my
bubble and they feeluncomfortable.
I want people to look at mystuff and be like, yes, let's do
this, so more of that for 2025.
Um, yeah, so a lot of what I dois photograph and then edit, but
(13:12):
then there's also like thebehind the scenes of all the
business things and themarketing strategies and content
creation and, uh, the boringstuff like tax stuff and uh,
accounting and all that that Istill do myself, but, um, I wish
that I didn't, um, anyways, sowhen I'm editing, I just
(13:33):
finished watching the sellingthe city on Netflix.
I don't know if you watchedthat.
Yet I love, um, anything thatAdam Develo, whatever that he
produces.
I mean, he was the one that didlike Laguna Beach and, um, the
Hills and pretty much SellingSunset, like all the things on
(13:54):
Netflix or that is a you knowcast like that.
I am like that's my jam, thatand anything.
Reality Reality, housewives I'mall about that.
Summer House, southern Charm um, southern Charm.
(14:19):
So that's pretty much like whatI watch when I'm editing.
Um, if I don't have to pay likethat much attention to
something, if it's got to belike an in-depth thing that I
have to watch, then, um, like, Istarted watching like
Bridgerton and it was like bylike the third or fourth episode
I was like wait, what, whathappened?
Like I think this is good andthen I missed like the first
half of it because I wasn'treally even paying attention.
(14:42):
So, not sure what you guys liketo watch, or if there's
anything else that you recommend, send it to me in my Instagram
at be posh photo, let me know.
Um, life updates.
We just got off Christmas andtoday my kids are back at school
(15:02):
, so I am getting things done.
Sorry for the delay on thispodcast, but I'm hopefully
getting it out today.
I've been working on theartwork, been working on the
what to say and all of the audio, editing and then figuring out
where to host it and all thethings.
(15:24):
So that is all that I have foryou before we get started, and
now we are going to get talkingabout our topic today, which is
your camera settings.
So thanks for being here.
Today we are going to talkabout your settings and what
(15:46):
kind of things that you're goingto adjust to take it off auto
mode.
So if you have a DSLR or if youhave a mirrorless camera and if
you're trying to decide whichone is best, just go for the
mirrorless.
I just upgraded to themirrorless this year, a couple
months ago, and I went with theSony a7 IV and I love it because
(16:13):
with a DSLR, when you aretrying to see if your image is
sharp or if the exposure isright meaning it's darker or
lighter or right on points withwhat you're going for or if it's
blurry all the things thatyou're looking for if it has too
much noise, you can't tell in aDSLR until you go back and
(16:36):
preview your photo, so you aretaking time off of shooting by
going and seeing if your photois even looking good.
What I love about themirrorless is that you can see
automatically on the screen, byyour adjustments, if the photo
is looking good or not.
So you don't even have to goback and preview the photo.
(17:00):
You can see it right in thescreen as you're adjusting,
before you even take the picture.
So that's what I love.
If you're going back and forthon what camera to get, I will
put some beginner options in theshow notes, but basically
you're looking for somethingthat has manual mode, and you'll
even get something from thispodcast.
(17:20):
If you're shooting with youriPhone, there are definitely
certain apps, like Lightroom,that you can shoot a camera
through that app and be able toadjust manual modes.
So we will talk about that aswell.
How do you find manual mode?
You want to find the M andswitch your dial to that setting
(17:42):
, take it off auto and find theM.
So there are three things thatyou need to know about manual
mode your shutter speed, yourISO and your aperture.
Your shutter speed, your ISOand your aperture.
This will make up your exposuretriangle.
So on a mirrorless, you will beable to see that image in your
viewfinder, but on a DSLR or onmy Canon, you have a
(18:09):
compensation timeline lookingthing or bracket with a zero in
the middle and you want all ofyour settings to make your
little dial fall around thatzero number.
So that means it is perfectlyexposed.
If it goes above that zero,then it means that you have a
(18:29):
little brighter of an image.
If it's way above that zero,you have a too bright of an
image.
If it's below that zero or thatmiddle line, then you have too
dark of an image, and if it'sway below, you want to avoid
that and adjust your settingsproperly.
Each of those settings willmake that slider go one way or
(18:50):
the other, and so your goal isto manipulate your priority
first and then adjust the otherthings to make that balanced, to
make that fall at zero or tomake your photo look exposed
properly in your viewfinder oron the screen on a mirrorless
camera.
Your aperture is the thing thatyou're probably going to want to
(19:15):
focus on most, that is, howblurry the background is versus
how sharp the subject is.
So I know that you guys lovethose photos with the sharp
faces and the blurry backgrounds.
That is all with the aperture,and if you want more of the
background blurry.
(19:37):
You're going to go lower inthat number.
So this is the number on yourscreen that you will see that
has a f in front of it.
So whether it's an f 2.0, an f1.8 and, depending on your lens,
you can go lower like an F1.2,and those lenses are going to
(19:58):
cost more.
Lenses are another thing thatyou want to think about when you
buy a camera.
It may come with a kit lens,and this is great for beginners.
It's great to start out, it'sgreat to practice.
Once you learn the process ofhow to manipulate these things,
then you can progress and buy anicer camera body or nicer
(20:20):
lenses.
With lenses they are going tobe expensive, but part of that
expense means that they're goingto be heavier.
They're going to be made ofbetter quality materials.
They are going to be more sharpimages.
They are going to work betterin low light.
(20:41):
So you may have a lens that canonly go down to an aperture of
4.0 and while you will still beable to get great pictures and
may not work best in low lightsituations.
So that's when you want toupgrade your lenses or make sure
that you're shooting inlighting that works according
with your lens, so with youraperture.
(21:02):
This is where you can get thatnice bokeh, that blurry
background, the lights, thatkind of blur behind the subject.
And the more that you will getof that is when your subject is
closer to your camera and thebackground is further away.
So sometimes you may want touse this if you don't have the
most ideal background.
You want your subject closer tothe camera lens and the
(21:27):
background further from thesubject so you can play around
with this.
Typically, you will get moreblur if the subject is closer to
your lens and further from thebackground.
So I shoot with a 35 sigma lensthat goes down to a 1.4, I
(21:50):
believe.
I don't like to shoot reallyless than a 1.8.
When you're going 1.2, it'slike an eyelash.
So if you miss the focus, evenjust a little bit, you are going
to have like the eyelash infocus rather than the eyeball.
(22:11):
I don't really shoot withanything less than 1.8, maybe
1.4.
But for group shots or for, Ilike to think, if you have two
subjects, you want to probablybe at that 2.0.
If you're going up more people,then I would suggest going
higher.
You're going to lose a littlebit of that bokeh, that blur in
the background.
(22:31):
If you're shooting landscapeand you want a lot of the
background to be in focus, thenyou're going to want to up that
aperture to a high number, to 12, 14.
But you're going to have toadjust your shutter speed and
your ISO to make sure that yourimage still has those blacks,
(22:52):
still has those whites andeverything in between and
doesn't become a dark image ortoo bright of an image.
But I would just start shootingthings at the difference
between a 2.0 and maybe a 5.0and just see the difference that
it makes in your photos.
So that's aperture.
(23:13):
That is going to be how muchblur you want in your background
versus how much of your subjectyou want sharp.
Okay, going on.
Next is your shutter speed.
So your shutter speed means howquick is your shutter closing.
So if you are trying to take apicture of somebody in action,
(23:34):
then you want that shutter speedhigh.
This is where you see the 1over 200 or 1 over 4000.
That's what you're going to seewith your shutter speed in your
viewfinder or if you have alittle thing on top of your
camera that tells you yoursettings, if you are shooting
(23:55):
something fast like a runningkid, you want that shutter speed
to be as high as you can get itwithout the frame turning black
.
So we're going to bemanipulating these three things
the shutter speed, aperture andISO to make sure that your
screen, your picture, is notcompletely black and it's not
(24:19):
completely blown out white withhighlights.
So when you're adjusting theshutter speed then you want to
think about how quickly are mysubjects moving and then adjust
that.
If you want a blur, likesometimes I want the family to
be like the parents to be infocus, and I want the kids to be
(24:40):
running around them and I wantthem to be a little blurry, like
even to just show a littlechaos or a little fun or a
little bit of movement and justlife.
So I will put it down to 1 over30, maybe 1 over 20, depending.
Those are kind of my settingsfor if I want blur, if I don't
(25:04):
want blur.
The rule of thumb is normallyyour shutter speed should not go
below your focal length.
So if you have a lens that is a35, I do not want to drop down
my shutter speed below a 1 over35.
If you have a 50 millimeterlens, then you don't want to
drop your shutter speed down tobelow 1 over 50.
(25:28):
This will make your photoprobably blurry unless you have
a tripod probably blurry unlessyou have a tripod.
You want it to be extremelystill or have no handshake, no
movement of the camera at allwhen you're using lower shutter
speeds.
So when I try to do myintentional blur of the kids and
(25:48):
sharpness of the parents, Iwant them to be super still and
I have to keep my body and handand everything my camera
completely still.
So that is a little trickygetting some of that to be in
focus.
That is your shutter speed.
The third thing and it's not thething I prioritize first most
(26:10):
of the time is your ISO, andthis is how much light is coming
into your camera.
So if you have a dark room, youare going to bump that ISO up
to however high, but you have tokeep in mind that the higher
the ISO, the more noise you'regoing to get.
So I would not recommend tryingto take a photo in a completely
(26:34):
dark room without any light,and we will go on to talk
specifically about light in weekthree, so that will be probably
the most important episode tolisten to.
If you're doing ISO for abright, sunny day, you should be
at like 100.
For a evening session, youshould be at like 400 to 600.
(26:57):
The higher you go, you can, ofcourse, do that, and the newer
cameras are getting way betterat seeing low light and that's
why I invest in more expensivecameras is because they are
better in lower light situations.
So when I'm in an in-homesituation whether I'm doing
newborn sessions or just in home, and the light is not bright
(27:19):
and I'm wanting to use naturallight, then I can bump that ISO
up higher, whereas a cheapercamera would make that very
noisy and very like there'snothing you can do about it.
It's not just grain, it's likelike little balls of color that
will look on your image later.
(27:41):
Or if you look at it at in abigger image, like if you're
trying to print it out and putit on your wall and you took a
picture in a dark room, you aregoing to see a bunch of little
colored dots and they could bedark dots.
They could be all on the faceif you're trying to brighten the
people up but leave the roomdarker.
(28:02):
So ISO is definitely importantand you don't want to max out
your ISO, but that's kind ofsomething that I will set first
and probably not mess with it.
My whole entire shoot.
I will more likely be switchingback and forth between my
shutter speed and my aperture Toget your photo balanced.
(28:25):
The main goal that you want isyou want your highlights to be
represented, you want yourshadows to be represented and
you want a whole spectrum inbetween.
You don't want to look at yourphoto and think, oh my goodness,
that is too, too dark, I can'tsee a thing, because you're
going to only be able to lightenit in editing so much.
(28:45):
And you definitely, definitely,definitely do not want your
photo to be too bright, because,even if you try to edit it in a
post-processing app, you arenot going to regain any
information.
So, as photographers, we allwant to shoot a little darker
(29:07):
rather than brighter, especiallyif you're shooting in raw, and
that's another thing is that youshould be shooting in raw.
So you have two options you canshoot in raw or you can shoot
in jpeg raw, r-a-w and what thismeans is that you, your photo,
will basically keep all of theinformation that it sees,
(29:31):
whereas a jpeg will compressinformation and when you go to
edit it later, you will not beable to recover the original
look of the photo or what wasactually there.
So the first couple sessions Ishot as a beginner photographer,
I shot everything in JPEG andso I would go on to my editing
(29:55):
and I think at that time I didPhotoshop and I would edit it
and it like flattens the imageso that, like, you cannot go
back and find the original photo.
So it is stuck in time withwhatever filter editing that I
liked as a new photographer andas I've grown, that has come to
(30:17):
change over the years.
So now my newborn photos andprobably the whole first year of
my daughter is stuck in a editthat I don't like and I cannot
go back and recover the file.
But if I had shot in raw, Iwould be able to go back to that
raw image and edit it again andagain and again and tweak
(30:39):
things and keep those foreverand be able to bring them into
whatever time period I want.
It's kind of like Instagramwhen you had like the filters,
like back in the day, of whereif you applied that filter like
you can scroll back to thebottom of your Instagram and see
it's still stuck with lo-fi,whatever filters there were back
(31:01):
then.
So just to recap, we havelearned about three different
components of the exposuretriangle, which is, in other
words, for saying, a balancedlight image.
You have your aperture, whichis going to decide how blurry
the background is versus howsharp your subject is.
You have your shutter speed.
(31:23):
That is going to decide howquickly you are stopping the
motion.
Are you having it blurry withthe lower shutter speed or are
you having it quicker, stoppingthe action quicker with a higher
shutter speed?
Then you have your ISO, whichis determining how light the
room that you're shooting in orthe outside that you are
(31:44):
shooting in.
So for homework, I'm alwaysgoing to give you a challenge, a
way to practice this, so youcan take notes, you can write
down the challenge.
Basically, you are going topractice your aperture, your
shutter speed and your ISO inmanual mode and different
lighting setups at home.
So you're going to take turnsmanipulating one part of the
(32:06):
exposure triangle to experimentwith how each setting works.
Each photo should still bewithin that zero, or exposed
properly, or slightly under orfall within the middle of your
compensation bracket.
So you can go outside and takea picture with an ISO about 100
during the day on a sunny day,then go inside to a dark room
(32:29):
and up your ISO as high as itwill go and compare the two
photos.
Then take a photo of your childor pet or somebody going
quickly at a low shutter speed,so that one over 30, one over 20
and see what that looks like.
And then take another one itcan be the same exact thing at a
(32:54):
higher shutter speed, like 1over 6000 or 1 over 8000, and
compare what it looks like.
Then, for your aperture, youare going to take a photo at the
lowest setting that your lensgoes.
So if it's a 2.0, shoot atsomething with a 2.0 and try to
put your subject closer to yourlens and a background further
(33:16):
away, and then you can take thesame exact photo and just change
your aperture to a 12.0 or anF7 or an F5.
You can kind of play with it.
Just go a little bit higher oras high as you can go with the
aperture to see how that looksdifferent.
(33:36):
So once you have those sixphotos, then feel free to post
them on instagram and tag me andshow me at be posh photo what
you have gotten and what you'venoticed Some troubleshooting for
when you are photographing.
If you are noticing that yourphotos end up too blurry, you
(33:59):
have a shutter problem.
You are shooting at too low ofa shutter speed for your subject
.
If your photo is too bright,you could have an ISO problem,
or you could also have a shutterspeed or aperture, but you're
not looking at your exposurecompensation bracket.
If your photo is too dark, thenyou could have a problem with
(34:21):
any one of those settings oryour ISO could be too low.
And another thing if your phototoo noisy, if you're finding
too much noise in your photos,that's because your ISO is too
high, so try bringing that down.
Those are just sometroubleshooting tips.
If you have any questions aboutthe topic today, then feel free
(34:43):
to reach out to me atBePoshPhoto on Instagram and I
can help you, or save yourquestions for the next podcast
and answer those before we getstarted on the next topic.
And if you are in the marketfor newborn photos, obviously
send me a message.
(35:03):
And the next thing that I havecoming up for multiple sessions
is the greenhouse.
You guys loved the greenhouseand so we have something coming
up in March for that.
So head over to my Instagramand click on the link in bio and
you can find all the bookingdetails there.
(35:25):
Enjoy the show notes with linksto my favorite beginner cameras
, lenses that I would suggestbeing your first purchase, and
any other things I think wouldbe helpful.
You can find those in going toshow episode and seeing the show
notes there, or you can find itat itsbeposhphotocom slash
(35:47):
podcast.
All right, have a great day.
Bye.
Hey, mama, whether or not you're trying out your
camera for the very first timeor you've been doing this a
while and just looking for somecreative inspiration, I've got
all that and more.
I'm here to help you see yourworld differently, challenge you
creatively and find yourpassion for photography.
My name is Brittany Porter,with Be Posh Photo, and I have
(00:21):
been doing photography for along time now.
I went professional, I think,like in 2010, right before I got
married, and I was originallydoing video editing for
commercials, but before that, Ihave always loved photography.
I took photography in highschool, doing film photography
(00:43):
in the dark room.
Then I continued in collegedoing film photography in the
darkroom.
Then I continued in collegedoing film photography and then
later switching to a digitalphotography editing class.
That just helped me learnPhotoshop and I knew I wanted to
do something creative.
But my dad was in the realm ofadvertising and graphic design
(01:09):
and that just was not what I wasgood at.
But I did love video editingand photo editing.
There's something magical aboutthat that I could spend hours
and hours doing that and I feellike I never can learn enough.
There's never a top to reach.
There's always more to learnand experiment with, and that's
what I love is that I don't getcreatively bored.
There's always something elseinspiring me to do something
(01:30):
else.
So after that I actually hatedtalking to people.
I am more of an introvert, andso when I thought of the idea of
photography, I was like I thinkI'm just gonna do nature.
Like I think I'm just gonna donature, like I think I'm just
gonna do things that don't speakto me or that I don't have to
um step out of my comfort zoneto really do much.
(01:53):
Um.
But then I mean, nature doesn'treally pay, especially right
away.
So I started my photographywith um first of all
photographing friends and thenputting ads on Craigslist to do
uh model, uh portfolios.
So I had a couple people umvolunteer to let me photograph
(02:15):
them more high fashion ish Um,but not really because I had no
idea what I was doing.
Um, not really because I had noidea what I was doing.
And then I started doing peopleand their dogs.
So I would go to Freedom Parkand I would ask people if they
would like a photo with theirpet, and then I would give them
a business card and then I wouldtell them I would send them
(02:36):
their photos for whatever price.
And that only happened maybelike twice, because it turned
out to be kind of sketchy.
So I had this new camera, wasdoing photography stuff and I
started doing a couple weddings.
Some people hired me to gophotograph their wedding and I
(02:56):
was a solo wedding shooter andthat scares me now a little bit.
I did not even have likemultiple memory cards.
I had like two cameras at thesame time going back and forth.
But then once I had my firstchild, everything changed and I
was wanting pictures of her andI mean, as a first time mom,
(03:20):
it's like you just went to warpretty much that's what it felt
like and the last thing I wantedto do was really pick up a
camera or have my photo taken.
When my husband's grandma wouldcome over and just tried to
take pictures and I'm like Ilook terrible, I don't feel good
and I was like I have a camera,I'm just to take my own newborn
(03:44):
photos.
Well, at that time everythingis stuck in JPEG, which means
whatever way I edited, thosephotos are stuck like that.
So that's one thing, and thesecond thing is I'm not in any
of these.
I'm not in any of them with her.
That I like the way that I look, or that are beautiful or
(04:06):
timeless.
And so when I have, herbirthday come up every year and
I'm like looking at things topost and I'm like these are all
terrible.
These are either like iPhonepictures that I mean, as the
iPhones get better, they getbetter quality, but this is like
old, it might even be.
I don't even know if I had aniPhone.
Honestly, back then it couldhave been a Blackberry.
(04:27):
No, I think I don't knowanyways.
So the newborn photos were notgreat.
She was like a month old by thetime I got around to feeling up
to taking them.
I didn't know newborn etiquettewith keeping babies safe, so I
would put her in a basket tryingto mimic a Pinterest photo that
I saw, and the basket would tipover.
(04:48):
I mean, luckily there was apillow in there, but I didn't
realize that you need to putlike a weight or something in
there so that it doesn't fallwith a newborn baby in it.
She was bigger than um,obviously like a newborn within
the first week, and so gettingsome of the photos are just I
don't know, like it's notsleeping baby cute it's.
(05:09):
I mean she's cute obviously,but the photos looking at them
now I like cringe and thinkingabout, like, oh well, photos for
, like, her high school yearbookor for a slideshow at her
wedding.
I have nothing and I didn'twant to make that mistake again.
So the second time the secondchild I was like I'm hiring a
(05:31):
photographer, I want to be inthe photos, I want to have the
right timing, the rightexperience, all the things.
So I hired some photographersand, while I loved their work,
they were primarily weddingphotographers, and so it still
was like a month after I had mydaughter and, um, one thing I
(05:52):
didn't love was my outfit in thephotos.
So here I am like, okay, I dida little bit better.
Now I have a professional doingthe photos so that I could be
in them.
I have photos when she's likesleeping, but honestly, by that
point she was addicted to thisginormous pink passy and she
either wanted that, or to nurseor to cry.
(06:13):
So photos were still not up tomy like ideal what I saw on
Pinterest, probably.
And so then, the third timearound, I hired some of my
favorite photographers that donewborns and families.
It was a sister team.
They no longer do photographytogether, but that was finally
(06:37):
when I was like yes, I hiredhair and makeup.
Thank you, sabrina from LookLove.
And she came and did my hairand makeup.
All I had to be in charge ofwas putting on my outfit,
picking out my kids' clothes andjust making sure my baby was
fed.
That was it, and it feltamazing and I love those photos.
I probably wouldn't have goneas dark in my color scheme, but
(07:00):
that was my thing then and thathas pushed me to really have a
heart to get moms in the photos.
When I look back at my childhood, photos there are I mean,
cameras were very few, it wasdisposable cameras, pretty much
film and the memories that Ihave are really like from the
(07:23):
pictures that I've seen.
The memories that I have arereally like from the pictures
that I've seen, and my dad wasthe one that was really about
pictures or art in general.
So I have all these memorieswith my dad, but I'm like I
don't have that much with my mom.
Like when I'm looking forpictures I'm like where, where
is she?
What was my childhood Like?
What was this Like?
(07:43):
I wish that I had more photoswith my mom and it just.
Photos create memories and theycreate like this, this ideal in
your mind of like what life waslike you know, back then.
It creates like the feelingbehind a memory, and so I love
(08:03):
that aspect of photography andjust combining all of those
things with getting moms in thephoto, having your baby's photos
done right away so that theystill have that newborn
sleepiness, they still have thattiny, tiny body and hands and
face and feet and all thosethings maybe they still have
their belly button thingattached and giving moms outfits
(08:28):
to just put on and guiding themthroughout the whole process of
what to wear, what to do andthen how to show up beautifully,
so that you can freeze time andbeautiful moments with your
baby.
And then the next day you canput sweats back on, you can put
on your burp cloth and spit upclothes right after, but for
(08:50):
that moment, just to have alittle bit of time to get ready,
to feel like a human again, totake a shower and do your hair
and put on a little makeup, likethat just makes you feel like
okay, got this.
It empowers you, it helps youfeel beautiful and you know that
you have done something foryour child.
(09:10):
To look back on later and belike, wow, that was beautiful,
my mom is so pretty I can'tbelieve that she just gave birth
and she looks like that.
You know, like we're so hard onour bodies and so hard on our
experiences right after laborand it is such a beautiful thing
and I'm like, so appreciativeto be able to capture that for
(09:33):
moms.
So that's kind of what I do andwhy I do it.
And then I continue pretty muchjust reinforcing the fact that
moms should be in photos.
So whether that's six monthsession, whether that's Mother's
Day, whether that's, you know,christmas card photos, like I
want moms to be in the photosand I want them to feel
(09:55):
beautiful.
So that's pretty much what I doand why.
Now I want to take all that Ihave learned and am currently
learning and still working onand pass that along to you so
that you can take yourphotography to the next level,
(10:15):
or maybe that you can take thatcamera that you just got for
Christmas or that has beensitting around collecting dust,
and open it up and figure outwhat are these, what are these
modes, what do I do?
How do I take manual photos?
How do I get some things blurry, something sharp?
How do what do I look for?
(10:36):
How do I get kids to sit still,how do I place people in the
photo?
All those things is things thatwe're going to cover throughout
this podcast For 2025, I amexcited to bring this podcast to
you first and then, hopefully,I am developing a mini course
(10:59):
that will be like if you arelistening to this podcast and
you're like, wait a second, Iwant to see what you're doing
Like this doesn't make senseaudibly, I need to see things
visually.
Then that will hopefully beavailable to you this year.
Just to take it a littlefurther, I also obviously want
(11:21):
more newborns.
I love newborns.
Most photographers either lovethem or hate them.
I just have found such a rhythmwith them and I find I hate
looking up locations.
Sometimes I hate looking at theweather and it's like, okay,
newborn.
All I have to do is the momtells me she's had the baby.
(11:42):
We find a time that week andboom, I'm there, it's at their
house and everything goes great.
At the end of the year of 2024,I used ChatGPT a lot for my
marketing and I hope to continuethat more in 2025, because I
was really starting to find moreof my ideal clients and we'll
(12:05):
kind of talk about that laterwith business kind of stuff, but
I never want people to feellike they have to fit into a
mold of what I photograph.
I want people to look at myphotography and say, yes, that's
me, or I love those colors, orI already have so many neutrals,
or I just love the way that youcapture families.
(12:28):
I want people to just feel like, yes, that's me and let's book
her because we align and we havesimilar styles.
Like when I find those clients,I'm like, yes, like I want to
edit this forever, I want tophotograph this forever, and
that I feel like is ideal.
(12:49):
I don't want to make peoplefeel like they're put into my
bubble and they feeluncomfortable.
I want people to look at mystuff and be like, yes, let's do
this, so more of that for 2025.
Um, yeah, so a lot of what I dois photograph and then edit, but
(13:12):
then there's also like thebehind the scenes of all the
business things and themarketing strategies and content
creation and, uh, the boringstuff like tax stuff and uh,
accounting and all that that Istill do myself, but, um, I wish
that I didn't, um, anyways, sowhen I'm editing, I just
(13:33):
finished watching the sellingthe city on Netflix.
I don't know if you watchedthat.
Yet I love, um, anything thatAdam Develo, whatever that he
produces.
I mean, he was the one that didlike Laguna Beach and, um, the
Hills and pretty much SellingSunset, like all the things on
(13:54):
Netflix or that is a you knowcast like that.
I am like that's my jam, thatand anything.
Reality Reality, housewives I'mall about that.
Summer House, southern Charm um, southern Charm.
(14:19):
So that's pretty much like whatI watch when I'm editing.
Um, if I don't have to pay likethat much attention to
something, if it's got to belike an in-depth thing that I
have to watch, then, um, like, Istarted watching like
Bridgerton and it was like bylike the third or fourth episode
I was like wait, what, whathappened?
Like I think this is good andthen I missed like the first
half of it because I wasn'treally even paying attention.
(14:42):
So, not sure what you guys liketo watch, or if there's
anything else that you recommend, send it to me in my Instagram
at be posh photo, let me know.
Um, life updates.
We just got off Christmas andtoday my kids are back at school
(15:02):
, so I am getting things done.
Sorry for the delay on thispodcast, but I'm hopefully
getting it out today.
I've been working on theartwork, been working on the
what to say and all of the audio, editing and then figuring out
where to host it and all thethings.
(15:24):
So that is all that I have foryou before we get started, and
now we are going to get talkingabout our topic today, which is
your camera settings.
So thanks for being here.
Today we are going to talkabout your settings and what
(15:46):
kind of things that you're goingto adjust to take it off auto
mode.
So if you have a DSLR or if youhave a mirrorless camera and if
you're trying to decide whichone is best, just go for the
mirrorless.
I just upgraded to themirrorless this year, a couple
months ago, and I went with theSony a7 IV and I love it because
(16:13):
with a DSLR, when you aretrying to see if your image is
sharp or if the exposure isright meaning it's darker or
lighter or right on points withwhat you're going for or if it's
blurry all the things thatyou're looking for if it has too
much noise, you can't tell in aDSLR until you go back and
(16:36):
preview your photo, so you aretaking time off of shooting by
going and seeing if your photois even looking good.
What I love about themirrorless is that you can see
automatically on the screen, byyour adjustments, if the photo
is looking good or not.
So you don't even have to goback and preview the photo.
(17:00):
You can see it right in thescreen as you're adjusting,
before you even take the picture.
So that's what I love.
If you're going back and forthon what camera to get, I will
put some beginner options in theshow notes, but basically
you're looking for somethingthat has manual mode, and you'll
even get something from thispodcast.
(17:20):
If you're shooting with youriPhone, there are definitely
certain apps, like Lightroom,that you can shoot a camera
through that app and be able toadjust manual modes.
So we will talk about that aswell.
How do you find manual mode?
You want to find the M andswitch your dial to that setting
(17:42):
, take it off auto and find theM.
So there are three things thatyou need to know about manual
mode your shutter speed, yourISO and your aperture.
Your shutter speed, your ISOand your aperture.
This will make up your exposuretriangle.
So on a mirrorless, you will beable to see that image in your
viewfinder, but on a DSLR or onmy Canon, you have a
(18:09):
compensation timeline lookingthing or bracket with a zero in
the middle and you want all ofyour settings to make your
little dial fall around thatzero number.
So that means it is perfectlyexposed.
If it goes above that zero,then it means that you have a
(18:29):
little brighter of an image.
If it's way above that zero,you have a too bright of an
image.
If it's below that zero or thatmiddle line, then you have too
dark of an image, and if it'sway below, you want to avoid
that and adjust your settingsproperly.
Each of those settings willmake that slider go one way or
(18:50):
the other, and so your goal isto manipulate your priority
first and then adjust the otherthings to make that balanced, to
make that fall at zero or tomake your photo look exposed
properly in your viewfinder oron the screen on a mirrorless
camera.
Your aperture is the thing thatyou're probably going to want to
(19:15):
focus on most, that is, howblurry the background is versus
how sharp the subject is.
So I know that you guys lovethose photos with the sharp
faces and the blurry backgrounds.
That is all with the aperture,and if you want more of the
background blurry.
(19:37):
You're going to go lower inthat number.
So this is the number on yourscreen that you will see that
has a f in front of it.
So whether it's an f 2.0, an f1.8 and, depending on your lens,
you can go lower like an F1.2,and those lenses are going to
(19:58):
cost more.
Lenses are another thing thatyou want to think about when you
buy a camera.
It may come with a kit lens,and this is great for beginners.
It's great to start out, it'sgreat to practice.
Once you learn the process ofhow to manipulate these things,
then you can progress and buy anicer camera body or nicer
(20:20):
lenses.
With lenses they are going tobe expensive, but part of that
expense means that they're goingto be heavier.
They're going to be made ofbetter quality materials.
They are going to be more sharpimages.
They are going to work betterin low light.
(20:41):
So you may have a lens that canonly go down to an aperture of
4.0 and while you will still beable to get great pictures and
may not work best in low lightsituations.
So that's when you want toupgrade your lenses or make sure
that you're shooting inlighting that works according
with your lens, so with youraperture.
(21:02):
This is where you can get thatnice bokeh, that blurry
background, the lights, thatkind of blur behind the subject.
And the more that you will getof that is when your subject is
closer to your camera and thebackground is further away.
So sometimes you may want touse this if you don't have the
most ideal background.
You want your subject closer tothe camera lens and the
(21:27):
background further from thesubject so you can play around
with this.
Typically, you will get moreblur if the subject is closer to
your lens and further from thebackground.
So I shoot with a 35 sigma lensthat goes down to a 1.4, I
(21:50):
believe.
I don't like to shoot reallyless than a 1.8.
When you're going 1.2, it'slike an eyelash.
So if you miss the focus, evenjust a little bit, you are going
to have like the eyelash infocus rather than the eyeball.
(22:11):
I don't really shoot withanything less than 1.8, maybe
1.4.
But for group shots or for, Ilike to think, if you have two
subjects, you want to probablybe at that 2.0.
If you're going up more people,then I would suggest going
higher.
You're going to lose a littlebit of that bokeh, that blur in
the background.
(22:31):
If you're shooting landscapeand you want a lot of the
background to be in focus, thenyou're going to want to up that
aperture to a high number, to 12, 14.
But you're going to have toadjust your shutter speed and
your ISO to make sure that yourimage still has those blacks,
(22:52):
still has those whites andeverything in between and
doesn't become a dark image ortoo bright of an image.
But I would just start shootingthings at the difference
between a 2.0 and maybe a 5.0and just see the difference that
it makes in your photos.
So that's aperture.
(23:13):
That is going to be how muchblur you want in your background
versus how much of your subjectyou want sharp.
Okay, going on.
Next is your shutter speed.
So your shutter speed means howquick is your shutter closing.
So if you are trying to take apicture of somebody in action,
(23:34):
then you want that shutter speedhigh.
This is where you see the 1over 200 or 1 over 4000.
That's what you're going to seewith your shutter speed in your
viewfinder or if you have alittle thing on top of your
camera that tells you yoursettings, if you are shooting
(23:55):
something fast like a runningkid, you want that shutter speed
to be as high as you can get itwithout the frame turning black
.
So we're going to bemanipulating these three things
the shutter speed, aperture andISO to make sure that your
screen, your picture, is notcompletely black and it's not
(24:19):
completely blown out white withhighlights.
So when you're adjusting theshutter speed then you want to
think about how quickly are mysubjects moving and then adjust
that.
If you want a blur, likesometimes I want the family to
be like the parents to be infocus, and I want the kids to be
(24:40):
running around them and I wantthem to be a little blurry, like
even to just show a littlechaos or a little fun or a
little bit of movement and justlife.
So I will put it down to 1 over30, maybe 1 over 20, depending.
Those are kind of my settingsfor if I want blur, if I don't
(25:04):
want blur.
The rule of thumb is normallyyour shutter speed should not go
below your focal length.
So if you have a lens that is a35, I do not want to drop down
my shutter speed below a 1 over35.
If you have a 50 millimeterlens, then you don't want to
drop your shutter speed down tobelow 1 over 50.
(25:28):
This will make your photoprobably blurry unless you have
a tripod probably blurry unlessyou have a tripod.
You want it to be extremelystill or have no handshake, no
movement of the camera at allwhen you're using lower shutter
speeds.
So when I try to do myintentional blur of the kids and
(25:48):
sharpness of the parents, Iwant them to be super still and
I have to keep my body and handand everything my camera
completely still.
So that is a little trickygetting some of that to be in
focus.
That is your shutter speed.
The third thing and it's not thething I prioritize first most
(26:10):
of the time is your ISO, andthis is how much light is coming
into your camera.
So if you have a dark room, youare going to bump that ISO up
to however high, but you have tokeep in mind that the higher
the ISO, the more noise you'regoing to get.
So I would not recommend tryingto take a photo in a completely
(26:34):
dark room without any light,and we will go on to talk
specifically about light in weekthree, so that will be probably
the most important episode tolisten to.
If you're doing ISO for abright, sunny day, you should be
at like 100.
For a evening session, youshould be at like 400 to 600.
(26:57):
The higher you go, you can, ofcourse, do that, and the newer
cameras are getting way betterat seeing low light and that's
why I invest in more expensivecameras is because they are
better in lower light situations.
So when I'm in an in-homesituation whether I'm doing
newborn sessions or just in home, and the light is not bright
(27:19):
and I'm wanting to use naturallight, then I can bump that ISO
up higher, whereas a cheapercamera would make that very
noisy and very like there'snothing you can do about it.
It's not just grain, it's likelike little balls of color that
will look on your image later.
(27:41):
Or if you look at it at in abigger image, like if you're
trying to print it out and putit on your wall and you took a
picture in a dark room, you aregoing to see a bunch of little
colored dots and they could bedark dots.
They could be all on the faceif you're trying to brighten the
people up but leave the roomdarker.
(28:02):
So ISO is definitely importantand you don't want to max out
your ISO, but that's kind ofsomething that I will set first
and probably not mess with it.
My whole entire shoot.
I will more likely be switchingback and forth between my
shutter speed and my aperture Toget your photo balanced.
(28:25):
The main goal that you want isyou want your highlights to be
represented, you want yourshadows to be represented and
you want a whole spectrum inbetween.
You don't want to look at yourphoto and think, oh my goodness,
that is too, too dark, I can'tsee a thing, because you're
going to only be able to lightenit in editing so much.
(28:45):
And you definitely, definitely,definitely do not want your
photo to be too bright, because,even if you try to edit it in a
post-processing app, you arenot going to regain any
information.
So, as photographers, we allwant to shoot a little darker
(29:07):
rather than brighter, especiallyif you're shooting in raw, and
that's another thing is that youshould be shooting in raw.
So you have two options you canshoot in raw or you can shoot
in jpeg raw, r-a-w and what thismeans is that you, your photo,
will basically keep all of theinformation that it sees,
(29:31):
whereas a jpeg will compressinformation and when you go to
edit it later, you will not beable to recover the original
look of the photo or what wasactually there.
So the first couple sessions Ishot as a beginner photographer,
I shot everything in JPEG andso I would go on to my editing
(29:55):
and I think at that time I didPhotoshop and I would edit it
and it like flattens the imageso that, like, you cannot go
back and find the original photo.
So it is stuck in time withwhatever filter editing that I
liked as a new photographer andas I've grown, that has come to
(30:17):
change over the years.
So now my newborn photos andprobably the whole first year of
my daughter is stuck in a editthat I don't like and I cannot
go back and recover the file.
But if I had shot in raw, Iwould be able to go back to that
raw image and edit it again andagain and again and tweak
(30:39):
things and keep those foreverand be able to bring them into
whatever time period I want.
It's kind of like Instagramwhen you had like the filters,
like back in the day, of whereif you applied that filter like
you can scroll back to thebottom of your Instagram and see
it's still stuck with lo-fi,whatever filters there were back
(31:01):
then.
So just to recap, we havelearned about three different
components of the exposuretriangle, which is, in other
words, for saying, a balancedlight image.
You have your aperture, whichis going to decide how blurry
the background is versus howsharp your subject is.
You have your shutter speed.
(31:23):
That is going to decide howquickly you are stopping the
motion.
Are you having it blurry withthe lower shutter speed or are
you having it quicker, stoppingthe action quicker with a higher
shutter speed?
Then you have your ISO, whichis determining how light the
room that you're shooting in orthe outside that you are
(31:44):
shooting in.
So for homework, I'm alwaysgoing to give you a challenge, a
way to practice this, so youcan take notes, you can write
down the challenge.
Basically, you are going topractice your aperture, your
shutter speed and your ISO inmanual mode and different
lighting setups at home.
So you're going to take turnsmanipulating one part of the
(32:06):
exposure triangle to experimentwith how each setting works.
Each photo should still bewithin that zero, or exposed
properly, or slightly under orfall within the middle of your
compensation bracket.
So you can go outside and takea picture with an ISO about 100
during the day on a sunny day,then go inside to a dark room
(32:29):
and up your ISO as high as itwill go and compare the two
photos.
Then take a photo of your childor pet or somebody going
quickly at a low shutter speed,so that one over 30, one over 20
and see what that looks like.
And then take another one itcan be the same exact thing at a
(32:54):
higher shutter speed, like 1over 6000 or 1 over 8000, and
compare what it looks like.
Then, for your aperture, youare going to take a photo at the
lowest setting that your lensgoes.
So if it's a 2.0, shoot atsomething with a 2.0 and try to
put your subject closer to yourlens and a background further
(33:16):
away, and then you can take thesame exact photo and just change
your aperture to a 12.0 or anF7 or an F5.
You can kind of play with it.
Just go a little bit higher oras high as you can go with the
aperture to see how that looksdifferent.
(33:36):
So once you have those sixphotos, then feel free to post
them on instagram and tag me andshow me at be posh photo what
you have gotten and what you'venoticed Some troubleshooting for
when you are photographing.
If you are noticing that yourphotos end up too blurry, you
(33:59):
have a shutter problem.
You are shooting at too low ofa shutter speed for your subject
.
If your photo is too bright,you could have an ISO problem,
or you could also have a shutterspeed or aperture, but you're
not looking at your exposurecompensation bracket.
If your photo is too dark, thenyou could have a problem with
(34:21):
any one of those settings oryour ISO could be too low.
And another thing if your phototoo noisy, if you're finding
too much noise in your photos,that's because your ISO is too
high, so try bringing that down.
Those are just sometroubleshooting tips.
If you have any questions aboutthe topic today, then feel free
(34:43):
to reach out to me atBePoshPhoto on Instagram and I
can help you, or save yourquestions for the next podcast
and answer those before we getstarted on the next topic.
And if you are in the marketfor newborn photos, obviously
send me a message.
(35:03):
And the next thing that I havecoming up for multiple sessions
is the greenhouse.
You guys loved the greenhouseand so we have something coming
up in March for that.
So head over to my Instagramand click on the link in bio and
you can find all the bookingdetails there.
(35:25):
Enjoy the show notes with linksto my favorite beginner cameras
, lenses that I would suggestbeing your first purchase, and
any other things I think wouldbe helpful.
You can find those in going toshow episode and seeing the show
notes there, or you can find itat itsbeposhphotocom slash
(35:47):
podcast.
All right, have a great day.
Bye.
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