Our Gear List
Now we're going to talk about some year and some of the stuff that we bring on shoots to create some of the different images that we photograph on and remember you don't have to shoot like we shoot a lot of people like you guys bring a lot of stuff I like to have a lot of you know I'm a gearhead and I use a lot of that gear jodi doesn't like a lot of that gear she shoots a lot more organic and natural you're going to see later on we show you some of this stuff that we did yesterday exactly you know I've got like this plethora of crazy stuff and she's like reflector you know that's in fifty and she's ready to rock so we always have a lot of questions about like wait what was the thing that you use again and what size is that soft box give me a link and what is the thing that connects to and all that kind of stuff? We have created a fearless that anyone can go on to our store that we have in the links on the screen here it's just second jodi dot com slash store and in that you just go to...
the store and you can have the resource of section down there at the bottom is our gear lis it's free you put in your car but it's still free and it's got kind of our big lighting gear lists that's got her small light engines out every single piece of equip well, everything that we use and what's great about that has linked that link directly to add our ama. And you can see exactly what that gear is instead of, like copying and pasting the name and trying to figure out what it is it links, right tio, that great website so it's fantastic and also what that is, I think tio are one video I can't remember of us just going through our gear bag as well, you know? Yes, very cool, I didn't realize that was in there, so if you go to the store and you're having some problem working the store right now, it's, because a thousand people just jumped on our store front and it slowed down a little bit, so come back in five minutes, that should be fine by hopefully, everything will be fine. I know when we launched that store, it shut down on us three times that day, so hopefully it'll be okay with the creative live audience going there and grabbing that that information. Okay, so we're going to actually demo some of this gear that we bring on shoots, and I'm gonna first grab let's go big and work our way down we go small than the bigger bigger this way let's go small too big because I don't want to overwhelm people at first so we're gonna grab a couple of important pieces of equipment here and show you guys a few of these little do you take that, my dear sweet yes all right, so a couple of important things that are coming on every shoot all right, let me actually grab one more thing I'm sure you love it when I get up and move around one of the most important things that comes every shoot reflectors like this I know it's kind of a no brainer but I can't leave my money photographers I talked to go yeah it's always sitting in my car I never use it I never do anything with it we're going to show you guys why this is one of the most important piece of here we ever use for lighting because it allows us to quickly adjust tweak and control lighting and notice I always have to and route shooting you always have to deccan easy's easily slide in our bag and these air this is just a five and one reflector from west scott I'll have my wife grabbed this one this is the five and one reflected from scott and I always have one that has white on one sign and then a silver or silver and gold on the other side mixed together. The reason is because that's the to uh I used the most most people realize it with a five hundred reflector you've got this inner peace of diffusion have you ever tried to bring one reflector and now you need to defuse some way because there's some direct spotty son or something so you take this thing off this needs to be redesigned by somebody with some velcro something simple but you take it off and then you try to put this back on by yourself and you look like the town idiot you know, like the photographer who doesn't know how to use their own equipment and I cannot it takes me an hour to put this thing on jodi and I are both like putting them together super annoying and by the time you put it on and the lights change and you need to take a right way carry two ones we just have one that's just simply a diffusion panel and what we love about this is when we've got some really harsh light but say we want to shoot our client in a certain area we'll just take this and we'll block that light and england directed and will give us really beautiful light on her subject instead of that harsh sun so it anymore at any moment I could go I need some felt like pop this one open. I need some diffusion pump that makes your life so much more easy. Um, weii talk. We'll talk about this more later as well, but the reason we use silver and white is white is great for reflecting direct son. If you have powerful light, you want to use white because it's gonna reflect it not very much and very evenly that's what's great about it typically when I'm reflecting direct sun too it's like you way up here, it's not down here on the ground. I'm not bouncing some direct son of their bacchus if they're backlit back up in their face and shooting it up their nose. On the other hand, silver or silver and gold mix together are great because they reflect, as you can even see here in the audience, I could reflect a lot of light on to your lovely face is so whenever I have even or diffuse light cloudy days, I'm in the shade inside the bride's house and there's some window light. I need a little bit of phil light on the shadow side of her face. I'm using one of these silver, silver and gold mix together because this is going to reflect a tremendous amount of light when there isn't a lot of light. Cloudy day and then a lot of people are like well which direction do I hold this bad boy in because I can hold it over here reflects light over here it's really simple with if this is being used a spill light with the silver side it's the opposite direction as the natural light is coming if it's a cloudy day this is going like this because I need a bounce like back up into the shadows if I'm in some open shade and I have some direction of light coming from the side from an open sky I'm gonna put it on the opposite side and fill in like this house that look on my face is that look good glamorous on dh then of course it's up to whoever's photographing or your assistant to realize how close or how far to put it for effect so believe it or not like you had to just train your system a little bit we've had a lot of assistance that are just kind of like but I literally go I need you to hold it exactly where I tell you and then if I move your hand moving like that I'll grab a hand in here and then I'll get him to sort of do this you see how that's affecting now it's on them now it's not and when you start talking this person you go like this and there's no light anymore pay attention because what I don't want to go in and dodging burn eyes and thick skin and fix problems that I could have solved by just adding a reflector really quickly. Internet assistance, I thought now would be a good time to chime in with those. The first question is from marion in buda crest, romania, asking, do you let your assistant bring a camera and shoot on the wedding day or at the bridal session? Good or they just, you know, assisting by holding the reflector and stylized in the hair and dress it suppose what your needs are and for us way already have two camera shooting, and we want their main priority to be toe help and serve us and not for them to be focused on grabbing shots so and that's the case. Then they don't bring their camera and even tell them because they're like, do I need to bring my camera were like, just bring yourself on dso we communicate that by if they're coming, you know, is a second shooter, or you're letting them come just to get like boy working to build their imagery. I always say absolutely, you can bring your camera and we kind of set up guidelines, okay? When this is happening, you can bust out your camera when we're doing this, I really need you just help focus on me and that's rare, you know, that somebody would come and actually shoot with us unless the bride had hired another photographer to come in. And then we have brought that person in. So for the most part of assistant were not coming photograph and we very first started out jodi was still working at the record label, and there was a a photographer, a guy that wanted to become a photographer, and he didn't really have anything in his portfolio. The biggest thing holding them back was he didn't have a lot of work to showcase, and he was a really talented kid and I went, man, we've got these weddings coming up. I e mailed our brides and I said, hey, we got an assistant coming out he's going to grab a few shots when he can. Is that cool with you? Because they didn't hire him to shoot anything extra, and they were all like, sure, we don't care, and that helped him build a portfolio, then when we had raised our prices, we started sending him. Because I knew how he was interacting with people. We started sending them weddings. You probably booked five, six, seven, maybe eight weddings that next year from us. And he started a business. And this is a great thing. Not only can you help somebody learn how to become a better photographer by letting them be your assistant, helping them in ways that make sense for you and a cz long is this for your broad number one part of your bride. You can also help somebody started business now, him and his wife on a full time business. And our full time photographers are living that dream. And we were able to be a part of that in the beginning. And that's. A really cool blessing to be able to do for somebody is toe not just help your business to put to help other businesses. And that's. One of the number one priorities in our business is to help everyone else first. And then it's, just a natural repercussion that your business gets helped in return. Okay, moving on. A good question. It was a long answer to that question. Next up, a cz jodi hands that off to camera, right left, no camera, right, um, couple of other things, yeah, one of the most important keys. To our natural light shooting jodi's holding hands. So this bad boy is called the expo disc and we use this on our last creative live when we did that are a three day event and we showed us using it a bit it's also featured in our natural lady that we have out that's on the storefront that you can see and what's so great about this is this bad boy gives us great exposure in color, right in our camera. And they come with little lapels, that your great unions perfect exactly another exact exploding pledges on become a little hanging things that you can hang on your neck is an accessory which is maybe not so awesome. And can get in the way. I'm also also they also come with this little dude adhere. And then when you see the clips later today of a shooting live well, I guess it's not my shooting from us shooting yesterday. You'll see that we often have it on the sides. Is there on our belts so we can easily excessive really quick as we're shooting. Go ahead and grab it. Xo reading for a great card. This is essentially a great card. You go ahead and apply it in the camera and ready to go and keep on shooting on I just start back in here so we do not go on shoots without this one of the big benefits to this is one thing we love to do is scroll through photos find something that's really energizing that we know the bride's going toe like based on you know the interactions we've had and when we get that shot we like to show it to them there's nothing worse than you know you've got your camera out these shootings and photos and it's a little under exposing the color little blue in a little blue or little green or something you know it's a good shot once you tweak it but if you show us your bride she's like why is my face green and realized my face blue you know or whatever it's very disheartening it's sometimes you don't even know what you've got when the color's bad of the exposures and quite perfect so we were sitting with the expo disc especially now with the screen on the five year mark three which is a ridiculously amazing I can look at a shot I can just go holy cow like I know it's their show it to the bride she gets fired up and when we were shooting yesterday I went up to our bride and I was just like I had the shot and I was like she looks incredible in the shot. I showed it to her, she was like, oh, my gosh, he's like, can I put that on facebook? And I'm like, of course, you can, you know, so she was really excited, so having awesome color nailed in cameron awesome exposures, critical. Okay, moving on this more gear, another critical piece of equipment that we do not do a shoot without if we're doing off camera lighting is our handy dandy light meter. This is the site connick l three fifty eight. It is now discontinued. Get it on any day, if you can, because this is an amazing light meter, they have a replacement for it. So if you search for this anywhere, I'll show you the replacements of digital version. It costs like one hundred bucks more try to find one of these if you can, because this, in my opinion, is such an awesome eater, and you don't need all these digital doodads, but then the digital one is very cool recently, like a meter is because it takes out the guests work. You know, we're always trying to be fast, inefficient, especially if we're shooting on a wedding day, and by using a media, it helps us with our systematic lighting process that we use, which we cover lighting dvd that release a couple weeks ago and what's great about that is it gives you exactly the tools that you need to know the power that you need to set your light, teo, and it makes shooting very simple and takes out that when we should everything one hundred percent on manual for any kind of shoot like this it's rare that we're on an automotive, even at a wedding. It does happen on rare occasion most of time rock daniel, because we want to get consistent results and anybody that's used tl flash or electronically. The land's realizes it's like, oh, looks awesome! Oh, it looks terrible, looks too bright or looks too dark, it's all over the place that they're getting better and better, but they don't fire perfectly consistent every single time manual flash does every time. So that's, why we prefer to shoot on manu and the only way to read your manual flash correctly is with light meter and it's. It seems like it would take longer you're out here meeting, but believe it or not, it is incredibly fast and weaken set up that shot right there that is hanging on the wall that looks so dramatic, and so whatever took me forty, probably forty or fifty seconds to set up lighting for that. And it took jodi five images to capture it and it took me about one second to edit and post production so all in all that's about a minute's worth of work to create that image believe it or not that's what really doing it the right way can help you to do a couple other things. I got a few triggers people ask a lot of questions about we trigger all of our flashes when we're using anything except for our new flashes so much we'll talk about with cybersex these air from policy buff they're super cheap and look at how tiny and like that is it works just as good as a pocket wizard the populace is a great tool we use them for years we switch to these because when around a reception I don't want a pocket was there sitting on the side of my five eighty flash, triggering another light because it's the size of my flash this thing weighs nothing and it's super tiny and it works incredibly well and when you put it on it's on, you don't have to turn it on or off it's really cool so these are great that's called the ob uh check our dear list everything's on their three other amazing thing and you'll see this in the video that we're going to show coming up this is the sky port system from ellen chrome we switched over to alan crawl in the last two years, and now we're exclusively using elin chrome gear because it's it's amazing it's expensive. But if you want to spend the money, it's awesome. So I'm cheaper on rg airless through his awesome thing about this bad boys that has grouping systems. And when you use their receivers that you can buy with their certain units they sell, I can power all of my strobes up and down individually or as a team with this from my camera, so I could be sitting there and go take a meter reading. And if it's, I need more power, I could just go boo boo boo boo boo instead of going over, turning it up or going over here. And I think people there it is and I start shooting or all my life say that all of a sudden gets brighter out all my life seem to get brighter to compensate. I could just turn them all up evenly up and down. It's pretty rad now works up to like one hundred feet away or something. Like a couple of the cool things that people ask a lot of questions about. This is our lee filter system. This is new to our dear list and the leaf filter system. This is how it works way should a lot of high powered strobes, and we'll talk about low and high powered strobes if you don't want to have that kind of equipment that's fine, but when you're outside and it's high noon and you're overpowering the sun with emanuel flash not annie teo flash, which is on at? Um yeah, many times you're going to be shooting at f eleven of sixteen f twenty two and qatar was like that looks dumb, I don't like that, you know, I don't like all that death well one learn better composition because if you don't, if you have a time depth, you can look awesome if you have great composition but if you want shallow depth of field, this is the solution now I actually will shoot stuff like this at a wedding, but waiting to you really are good at it. But how this works? It's a three piece system you by this little bracket which screws on your lens just cost, you know, a minimal amount of money and then this holds the system together so it's a three piece system then you put on this little piece right here really simply like that clips on and then inside that we will hand me my filter, you have all these different filters and I use the resin full nd filter so when you're putting these together there it's a pain that's why we built the fearless because this is very complicated to find the right stuff but these air the resin filters this system is a little more expensive you can buy one filter for your lens that does the same thing for fifty bucks this is about three hundred dollars for this whole system so you've now take this andy filter and you slide it in front of here and you can put multiple versions and you could put one two, three four filters of all different types and what this basically does is it sunglasses on your camera so now your camera when you take a photo every all the lighting will look the same but your camera just won't see it is bright. So now we compensate by just opening the aperture so instead of shooting it up eleven if I put a three stop in the filter in I can open up by aperture three stops I can put two filters in here and opening up six stops. So on the shoot you're going to see I was shitting mentioning an f ten on this cloudy overcast morning we had and I instead shot it at one point eight on my strobes in it looks sick like it looks really cool so that's the power of the indy filter system from this is from lee filters ok, a couple other pieces of gear we're gonna showcase really quick. We'll set this right here and prayed to god. It doesn't fall is I'm gonna bring over my smaller like a big this is lip in amazing. This is a new rig, uh, it's from rapid bach or sort stars from westcott. It's called the rapid box active and this is amazing because it's ultra lightweight it opens up like an umbrella such as pops closed. You just press that there's? No. You know, you have screw anything and it just goes and pops open. Put a little diffuser on the front and it's designed for use with your five, eighty or sb nine hundred flashes. So it's an optimum it's like an ocd a box. But really what it is is a it's, a beauty dish and here's, why this the light that comes out of a lot? There's a lot of companies that make stuff like this, but the light that comes out of them is not so good, right? Quality of light is what we want more than anything. The reason the light isn't so good is because I take this diffuser off the front and I take this off really quick watch actually not gonna take all of that, but I don't want to disassemble the whole thing right behind here is just my flash it right when that shoots out it's going to hit mostly in the center of this diffusion panel on the front it's going to create a hot spot in the center and what we're trying to do is make this light source larger which makes it softer and prettier it looks better on a client number, the larger the lights there's a softer, more beautiful the light is that's why we're going to the effort of putting something like this over flat so some companies will put another diffusion panel in here not spread the light on the making interior silver helps read the light out but there's still a hot spot in the center and if you read the the stats on him it'll say one that stopped falloff from center and it's like what does that mean? It means it's really bright here and it's dark here so it's not very even it's not the best light what this does is this rapid box mimics a beauty dish a big expensive beauty dish that you would see a fashion photography in the cover of vogue using the light comes out hits this metal deflector bounces the light back and then pushes it around the size and creates a dead spot in the center so the light literally like a big warm fuzzy blank it wraps around your client's face the closer it is to it looks ridiculous and it hugs there their cheeks and it looks amazing so you can use it without the diffuser on it and it gets a little speculate which is a cool look for guys if you want like edgy guy shot's put the front diffusion on it and it literally is the softest I cannot believe the quality this light. I didn't believe it. Westcott like we got this new thing we went to vegas, we shot with this and I was blown away at how beautiful the shots that we use it a bit yesterday as well. So this is great. It just comes a little brackets you can mount it to a light stand or you're gonna have an assistant hold it the whole reception. If you're shooting weddings, put it up. If you want to shoot low key equipment, this is what you want to use. It weighs nothing at super light you khun taken around shoot all your portrait with that, you can shoot the whole reception with it, shoot the whole bridal session with it. Use it for phil flashes it for whatever you want. The only thing you have to keep in mind if you like, I want to do these awesome dramatic blue skies and high noon portrait lighting and some really cool stuff like that you cannot do that with one little five, eighty flash, which is why we're going to show you are bigger rig that we use we got on location because this doesn't have enough power whenever you're using just a flash and it doesn't put out a ton of light you're really restricted to when you use it has to be lower light settings like indoors or right after sunrise or right before sunset where the light is a lot and that is break in last year's we just have the, uh, receiver version of the cyber sink on here so we just have alcohol or cameras that sticks on notice I have gels on here too if I want to put the gel on the front for the reception so I can blend all the light together I could do that as well so this transmitter goes on our camera here and this transmits the message to the receiver so they both worked hand that off to the side if we can really quick and then we're gonna grab two more awesome pieces of gear that I love. So this is for all you super lighting dorks like me that want to go big time and we actually for weddings we never would bring a light this big we bring one about half this size with our high powered riggs here's two things we want to show one is the mini vagabond it's hard to see anything on here because I've duct tape the daylights out of itude because we have used the daylights out of everything but basically this is this can power any studio strove that plugs into a wall upto a thousand watts second light and it'll fire a five hundred watts second light five hundred times in a row before it goes dead can also charge your phone you need really cool you can fire two lights recon daisy chain stuff together and it charges up in just about two and a half hours to full capacity in ninety minutes or in forty five minutes of charges to eighty percent so you just clicking on plug it in plug in your light and in a fire almost any light except for like one a brand of pro photo it won't fire it'll blow the light up if you try to use it but other than that this is awesome it cost two hundred twenty nine bucks there's also under gear list so this is stellar if you want to take a big strobe on location and not have to buy something like this this is dedicated designed to go outside. This is really cool hand at my wife thank you and it's like a little persuasive race three and a half pounds so it's really easy to use this is our last piece of big here that will show this is a road, a lux deep throat octa thirty nine inch cock dominque it's. A long name for a very large light on the reason I love this is when we're shooting a wedding. This is ridiculous. Too much when you're shooting something like this, a bridal session when I could bring out one big light and make her feel like a movie star for an afternoon cool special because the quality of light that comes out of that is amazing. And I'm telling you, this is freaky awesome lighting like everything else you showed you is really good stuff and the more technique is the better. This is like you can't take a bad photo with this because the light is so here that's like having a giant window with you everywhere you go so what's connected to this this is a ranger palindrome ranger we also are fearless. We talk about the quadra the quadra is the little brother of this. It weighs three times less and less than half the size great for weddings. Portability. You don't want a lot of big here if you want something incredibly powerful, this is the way to go. This is eleven hundred watts second life oh, I'll have it hooked up later for some shooting. And it's got a battery pack it's good size fairly heavy not the easiest to move around but the light in quality that comes out of this is second to none it's ridiculous the pro photo makes a version of this that's two to three times more expensive so you've spent five grand on a pro photo version of this there's about twenty two hundred bucks for this and two lights and a battery pack not including soft block so it is fairly expensive but again we have four hundred dollars light rigs and we have three thousand dollars light rigs on our dear list for you to pick and choose what's best for you nice will hand this last one off I'll take this on myself when we show the videos of the shoot that we did yesterday we'll hit a bit of the lens is that we were using and why and that's some great information that will kind of talk about at that point question yes and we may have a million gear questions coming in I do not know I was just wondering how you went about collecting the gear if you got behind in here yeah if you kind of started out with the lower inversions and then so those often got the more expensive versions or if you really saved up and got the really nice versions um or if you have any ideas for people starting out where to begin that's a that's an awesome question and we obviously this with gear if you're not sure you want to try some stuff out, do something that's not a huge investment by a rapid box you've probably already got a five, eighty or espy nine hundred and it's just an add on you're going to spend one hundred fifty bucks and get an incredible light that you I guarantee you no matter what gary is, you're going to use that light because we're still using that kind of a light, so do something simple like that and see if you like it if you like the process, you may go now this really isn't for me I'm going to be natural light, you know don't say that just because you don't know how to use it but do that because it's a conscious choice you don't want to incorporate unless you have to right? And then maybe it's sitting in your trunk in a dire emergency where the lighting's terrible, but if you know you love lighting, if you know you love the look of lighting, if you know you want to do turn the sky blue with her back to the sun kind of stuff, save up the money and invest in good gear because you're going to take it out for years and years and years and abuse it and you might as well wait until you have the cash and spend the money on the right stuff because it's worth it when we've bought cheap junkie stuff, you get what you pay for with lighting people cheap stuff, it's going to break and it's going to fall apart, you're gonna have to get it fixed if you buy something like the ranger. I mean, I took we loved that thing around two weddings for two plus years and just abuse the daylights out of it, and it still worked like it, like a champ, and even on our gear lists the cheaper version that we have that's actually still a really great quality version. There's there's, jinky versions out there. But I mean, we use those senate, those lighting rigs at our weddings and then also at all of our workshops that we did, so they got you tour in the womb with those yeah, and they were great. So even the cheaper version that we have a still really great quality version if you don't want to make that extra investment into the garage, and if you want really cheap, you can get it like it's out there, there's one hundred fifty dollars lights that'll do some of that stuff, but they're going to break eventually on yet.