Multiply Revenue with Bridal Sessions

Lesson 1 of 18

Bonus Video with Purchase: "Outdoor Bridal Portrait Shoot"

 

Multiply Revenue with Bridal Sessions

Lesson 1 of 18

Bonus Video with Purchase: "Outdoor Bridal Portrait Shoot"

 

Lesson Info

Bonus Video with Purchase: "Outdoor Bridal Portrait Shoot"

Everyone we are second judy great from national tennessee and we're going to take you on a bridal shop today yeah we're gonna be covering some difficult lighting situation one of the best might we're going to see a clamshell lighting some off camera strobes darkening the backgrounds and still flashes of natural light with reflectors all kinds of different stuff working in a situation that is not necessarily the best not a lot of options we're gonna live we get we're gonna make it work so stay tuned for this extra supplements of a creative of course we'll have you sort of just sitting more this way have you looking over this way a little ways looking back that way a little more maybe feet yeah dating and awesome right now and then don't hate me but the whole money that perfect yeah that's pure awesome that actually might feel really crazy the lead a little more to me more that way and then looking that way yeah fuels we're gonna look stunning sweet pierre sweetness big smiling for me ye...

s and then looking right here me and give me a little more you don't have to smile for this one just breathe through your mouth you know? Yeah actually that looks amazing when the switch today oh my gosh darn chin up just a little yeah all right a couple more and I love that may be one kind of with your hand on my face yeah, change a bit yeah. That's way, way cool looking up my life for me yeah, really cool couple more gonna make quick adjustments that looks great, actually. Back. No, back what good you got on your toes? Yeah, yeah. That's great couple more, my dear like that looking down at their eyes really cool you jodi a little less so lithe. Hee hee hee hee hee cool waiting and waiting for this set up way don't probably have you back on your way out the other end so I'm putting on five stops and the film right now, that seems like a lot of that is a lot waken shoot extremely challenging, weighing in at one point eight instead of ten ways because of her dress rivers thing in a way, I saw the dress and I was like, right right, way, seriously incredible and then looking way big difference wait, wait, you're not you're not going thiss one yeah, we'll do this with you, so just wrap the box in every way that was a camera bag because the flash in september in the ground actually pull this way is the west got a rapid box? Uh, some of the shots we done on this shoot have humongous lights that air bigger and bulkier and some photographers like I don't want to do that can I should cool stuff like that with something that's easy to use and the answer is yes this is basically a small little ocd abakar is not actually dr box is really a beauty dish which means there's a piece on the inside as you can see, that reflects the light and you could take this in a row what that does when the light comes here we're gonna put our five eighty on the back of this so when the light comes out get bounces into this first that pushes the light around the sides and what that does it creates a dead spot in the center. So when the light hit the front of the box that comes out super soft and it really wrapped around the face really well and usually when you get five, eighty lights like this they're just not that good of like, quality but this one is ridiculous. It has helped make it it's amazing and it weighs nothing sets up in two seconds just pops open like an umbrella and it's seriously the most amazing little like you want to shoot with without a lot of gear whatever makes the most flattering light is when the light source is bigger and so yeah, we could take our little five eighty and just flash it straight on samantha, but the quality of the light isn't gonna be that great. That's why I love this rapid backs by west got because it gives us a bigger light source, which is going to make the light more soft and beautiful, and if your wedding photographer and you want to shoot the entire reception, all the dancing and all that stuff and you want good light and you can't bounce light off the walls, this is a perfect solution. You just set it up in the area, general, listen and you want to shoot him because the light is so easy to, um, maneuver around, you can just shoot entire reception that way, so these two pieces just sort of slide together, and then you're tightening now, like so on, it is ready to rock. It is important to note that it's really hard to get really dramatic blue movie skies with this little five eighty flash because it doesn't have enough juice. The reason that we're able to use this we can actually see the light out today is because we've got some overcast flight. We're not competing with the harsh sun right now, we're shooting this all on manual this while we're not gonna do any tio because it's, the worst technology known to man up skidding, it's cool but it's very inconsistent so if you want to edit your photos fast, you're shooting an e t t l a. You're gonna have one shot that looks decent. One that's, a little under exposing one that's a little over and your backgrounds going to say the same if your cameras on manual, so that becomes an editing, living nightmare. So we shoot everything on full manual. So every shot, because it's the exact same output that, when I'm using here, is the policy buff cyber sink, uh, trigger system. These air on lee for manual flashes, like we're going to do with our five, eighty excess of the original five a v x, by the way, we've had him for, like, seven years, and I can't believe they still work. Um so this will go on my camera this is great cause it's really small and very cheap fifty bucks on when they work just as good as a pocket with all right we're gonna hook it up here a lot of being a little velcro on a tow suction into the sign check it make sure that it's firing which it is all right sweet we're gonna walk over here and do a quick way way way cool like maybe one hand looking a little smile forming yeah wait for my life to keep up the way I like thinking way keep it on your legs a little bit yeah beautiful two more and then looking looking that way about our amazing bride to be samantha this doesn't look like much and actually there the ambulatory and I was not very good a lot of people a lot of photographers like cloudy days right like cloudy days because all the lightest soft as you can see it stop but if you're looking at even my facing a pricey by our eyes a little dark underneath not very good way don't want our bride to look like a raccoon eyes right? So we took our five eighty I looked it up try rapid box and we just added just a teeny bit of light up into the eyes so we could brighten them up and dark in the back on I just ever so slightly so her face would really popular and have this beautiful light on her skin, and there was sort of taper off but still be bright enough so it doesn't look flash heavy. It all looks very, very natural, is you can see we have all this sort of highlight on top shadow on the bottoms. We've got some cool texture, but on her face, that doesn't look good, it looks good in the background, doesn't look good for someone's face, so we just added that light to the eyes we did what's called glamour light, so the light was dead straight on, but it was about between seventy and one hundred twenty degrees and height, so fifty would be here. It was right about here, just above the center of the eyes, and that gives us that beautiful catch light blue looked awesome. When we're shooting our rides, we always love to get a really great close up shot of their face and so I'm looking for something interesting in the background that can something right about here and I was like something in the background and look cool too, so we see some of these purple flowers over years I'm gonna go ahead and try and incorporate those and and also just this will be just a very soft background so he just gets a great close up of her face is well let's focus on jodi's proper guineas the fifty millimeter so that she can have a little more to frame so she does have to walk down the hill with a longer lens and not be able to shoot the language that's why she's choosing promise you more shallow so the background looks interesting because it's not amazing because it's a little dead flowers about super happy right? Hopefully it'll work out way, way, way, way I'm gonna be on this side way but there are reflected do for you the reflector I'm using the silver side the reflector because there's not a lot of light and we need to add light under the eyes because again those shadows air coming straight down we have from life back here because we're down the hill coming into her face but we want to fill in the shadows you wouldn't think it, but the more light we have more beautiful and perfect. Her face looks as we fill in any small shadow that I'm gonna sort of just like the shadow side of her face. If you ever wondering what to do with the reflector when you're using this film, like, just put it in an opposite direction of the natural light when actually it's coming down, so I'm underneath. You can see, just has a tremendous amount of jodi will tell me strong. Just for sure. What I'm doing is checking, like screw on, making sure that her is waking up inside so you can do to get the info button on your camera and really show you the arch. The biggest thing we're watching out for is your face exposure of her face way also want, make sure dressed. Basically for me will you she's gonna like what I'm doing that is because george is gonna shoot a little more from this side for face for more light on this science will have a nice shadow on the outside which is sort of short lighting it's not really but it's more light on this side versus decide jodi's shooting on would you have a nice contrast with faces and I went ahead and about my aperture lower so what that does is it affects my exposure so I'm going ahead and getting another reading here with explode is just making sure that I got exposure now she's got a color and exposure failed at the same time and what we're using here this is called the exponents when we have a lot on our blogged about it talked about a creative life to it's a great question did that exposure and your color great camera then you can shoot on manual consistently and anything because he's on the back and because you're not editing each individual photo came shooting so that's why I loathe great trick is well is when you're shooting on cloudy days your images will go up former don't with sky and you're shocked you include the sky and you shot it just makes the image look more driving I'll go ahead and take a shot with the sky in and out and you'll notice with judges looks way just the community in a great way now, it's, like, I'm constantly readjusting, reflecting. I think a good assistant always have an assistant, but having a good assistance before, because all somewhere over, you're looking at all something light on their face is terrible. But I always watching to see what I think light is doing, and if I think it looks good, it looks good. So an assistant do that cement this amazing eyelashes, and I really want to capture as I'm shooting down. Samantha, I'm noticing that I now concede e on what she's sitting on, which is our undefined bag. Cover, which is really great that you can get up and have your subjects that on him we're just going to go ahead and just this and get up to support their, you know, that's. A great tip is I love to shoot down right, because it really could be emphasize what's below their head when she kind of millimeter lens for fire and so what's great about shooting down in them emphasize waste and the rest of their body what's great about this she's, tiny as it is, what right doesn't want to look even more attractive more closer into your subject that you're shooting that we need to be careful of your appetite was shooting at teo and I was shooting, you know, from about full, like, kind of just some nice raining. But now that I'm getting really tight on her face, it's really easy to miss that focus. I'm actually gonna but my aperture to wait and then this takes two seconds. I'm just going to do a quick check on just waiting to do a quick check. Soldier and now we're ready to keep shooting and manual and really tightens act of course is moving his goodness around so this is called clamshell lighting there's light coming straight down from the sky and I'm reflecting directly back up so it's gonna eliminate all the shadows underneath and it's really, really beautiful lighting and it just makes her face all right let's do this and I'm just gonna shoot around making sure you don't wait don't stunning, beautiful. All right, so I'm using the ellen chrome ranger power pack right now and I actually for weddings, we would always use the ellen chrome ranger quadra, which is like half the size of this at about three times less weight and the heads are actually smaller and lighter than a five a x these ones are very light still in pretty small considering how powerful they are reason I'm using this one is because when I'm out on portrait, he shoots where I have I can look around a little bit more here because I don't mind you may mind, but I don't I want more power and this is eleven hundred watt seconds of power I can obliterate the sun at high noon with room to spare and deal with four people in my shot with the ellen chrome ranger quadra which we have on our gear listen, we talked about a lot that rig is only four hundred watts second, so it's not nearly powerful enough to do some of the things I'm doing most of time today. It's great, but for times like this, when we're not going to miss it at times like this, but when I need a lot of power, I'm gonna bring a more powerful power pack. So that's, why I'm using this one today just so I have more control of the late. So my plan for this shot I saw like all this greenery and I liked how it sort of beat out on the side so I can do a shot where I can have some foreground middle ground of background elements or a layer, an image that I really dig that there's also some stuff behind us that's really cool, but I'm gonna go for this person. Cielo looks, I'm gonna use three lights for this one one main line on the front, back online on samantha and then we're going to use a light on the background itself toe light it up so it looks really, really interesting, so it doesn't just fall in tow ugly shadow because a light back there is not very interesting and this will give me more dynamic like background lights are more fair ball there, just on grins. And they're going to shoot a very harsh hard light that looks really cool if it's on a background or on the back of a subject it's very difficult to work with him it's on the front of a subject that's why we're used a big white on the front because it's very easy to work with so you may notice there's a tongue stand in jail this is a half cto gel I put this on here because it makes the background just look more interesting it's have all this white light that looks very studio and strobe e um adding this light adds color and texture to the background or whatever it's hitting and it just makes it look more interesting I'm still shooting on flash color for my color so I'm shooting at fifty nine hundred calvin this is going to come out in a very uh orange forty five hundred range color so it's gonna add that nice pop of color in the background so I what I'm doing here is I'm gonna intentionally over exposed the background by two stops the reason that I'm doing that s so that my light and can be very dramatic if I choose it to be any time I'm lighting a background if I'm just adding a little light to whatever is already there so I could look very dramatic I want drama so I'm gonna have to overpower the ambulance significantly so that's, about eleven right now overpower the background significantly, and I saw one hundred one, one hundred. I'm just adjusting all my different lights. Great thing about ellen. Crime was, I got just a mall radio enough to run over there, turn went up and down right over here, I could do it all right. From know anything is it only goes intense of a stock way. Have the president ten times to turn it to power down. One thing to keep in mind. Um, when you're beating background lights, my main lights set to f eleven and I some one hundred one one hundred two, the second, but the background lights, if they're the same power, and they're hitting her when light reflects back into the camera off of a subject, it gets brightened by oneto, one of the third stops. So if I cut that light in half from this one, so that one's reading up alive and I was reading that eight, they're going appear to be the same brightness. So I take it you want to even bring it lower, sometimes depending on your style. And if you want it, to be really obvious that a fair or not, don't forget to turn your lights on when you take last night, so I'm just checking my background like that was the one I was unsure about, and I'm bringing it up double in power. So we've got some different colors going on. We've got the background, different color, checking my history, ram to make sure it's not too deep in the shadows and it's looking good, that's, cool, looking down like that. Oh, yeah, the last thing I want to do, going a photo shop, trying to remove stuff that I think is really distracting. And this this kind of shot for me is like the one hero shot like I'm trying to one epic a really interesting shopping client normally wouldn't have it if this is that shot, I'm gonna try to convince her that this is gonna be the one she's gonna want a long way oftentimes when zach is doing a live shot of the latest decent enough, I'll go ahead and shoot some natural shot so again at the cloudy days is not the best label when you're shooting from far away, you don't have to have that beautiful, perfect light on the ice you can get away with what? It's, nice to have a seventy two hundred lens because I can zoom in as much as possible without getting in section wait look nice last, all right, wait, wait, yeah! Smiling beautiful one light very high over the top about one hundred twenty degrees and height pointing very far down that's going to create a lot of dramatic shadow underneath, but I want the drum on the top light, so we're gonna pop a reflector underneath and do it's called clamshell waiting so it looks like a clams eating her face of light it is about something like back up in her face to make it look, you know, fill in those shadows for us, I'm using the thirty five millimeter fixed lens from signals and not a length of normally ever even think of but lens reynolds was cool enough to send us a few lenses and they said this lines of super sharp I didn't believe them so I tried it and holy cow look around a little bit you have a guy I want to get a little lower and the reflectors not going quite get there for us we're just gonna add some light way of doing things like this when you're not stressed going really fast at a wedding because we have the time to actually play around do this and it makes him feel like a rock star like I'm getting all this little photography cheap same thing I'm just adding a little feel light underneath from for migrated light right here so we can fill in the shadows underneath it was gonna check the power right there it's a little too strong power in all the way down to actually move to this side because I'm trying to avoid that leaning on that side way yeah that's awesome super cool that's awesome couple more doing looking over this way for me our profiles one yeah cool way actually one more great looking up at the light for me bring your chin center you step forward just a little bit looking totally just and totally straight yeah that's like way ah a little fast yeah smiling like a little laughing one yes, awesome weii done. Deal, baby.

Class Description

Ready to add a key skill to your wedding photography playbook? Join husband-and-wife photography team Zach and Jody Gray for a one-day workshop that will teach you everything you need to know about bridal portraiture.

Wedding photographers are tasked with the intimate, stressful task of capturing the bride on her wedding day — a day packed with emotion and a million logistical details. Zach and Jody will show you how to take control of your wedding portraits by moving the bridal session to a different day. You’ll learn how to create the right environment for your unique style, and how to work with brides to exceed their expectations.

Zach and Jody will also cover natural lighting techniques, off-camera lighting, and how to successfully market portrait settings to your clients. By the end of this course, you’ll be newly equipped to give your brides one-of-a-kind, artistic portraits that they’ll love.

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