Outdoor Shoot Video

 

Multiply Revenue with Bridal Sessions

 

Lesson Info

Outdoor Shoot Video

So this first shot you can actually see on the screen of the lovely samantha oh my gosh she is stunning this was a shot that we did we went to carry park which I thought carrie park was gonna be this huge park and it was like a wall you know with a piece of sculpture in him you know feel down at the bottom and I was like all right we can make this cool and it's funny a lot of people were saying even on twitter we posted up one photo on instagram and and mention that you guys come in that door you come to seattle and allison we have these great you know we've had this blue beautiful skies and we end up with these great sky images but we have this cool smoky overcast morning that burned off after we had done the shooting we thought man let's do some really moody images to begin with and the less you some bright area ones even though we don't have a bright airy morning yes I work with what you got that's right through this first shot here's the behind the scenes of this set up exactly how...

we did it so this is great again about doing ah bridal shoot is that you have a little more time knows we have to light set ups we have the big uh deep throat doctor bank from ellen combs set up the road a lux using our big, high powered strobe, and then we simply have a one light behind it that has an orange tungsten gel on its, and we're basically doing two lights, the main light, believe it or not, most of you, even if you look at the photo, you can almost see inside the soft box. The reason is because it's not actually pointed at her, we're going to demonstrate that coming up, but we did what's called feathering the light and that's. Why that image has such a soft, buttery look to it, it's, not just because the light soft we're doing a short, like a short light effect, and now here is the videos we're going to listen in. Sorry, sorry, one more image this image here shows when the strobes did not go up, so you can see our exposure and how it's set. We're just the ambien light, and then, of course, you know, you look at the image before, and you see the beautiful nous of when that light goes on, our subject unintentionally knocked down the background by one and a half to two stops, so that when I bring in the off camera lights there, very obvious that they're there creates a much more engy dynamic look, if that's the kind of style like here's a natural light shot this is what the ambient light look like so it's not necessarily bad it's soft because it was cloudy out but the problem with it is not super dynamic it's not necessarily bad and he's a little more work and post to polish it up but the biggest problem is this very flat it doesn't have a lot of good highlight in shadow we're going to show you the video now, right? And then we will show you some more images from this little set up think about that that's all the dress and I was like a smooth seriously incredible and then looking up a little yeah perfect little smile way cool do this for me all right, everyone just really standing arms down kinda like this. Yeah that's cool just like that life ended this way that's beautiful sweet. So there's the final image on we'll have a couple more to show you guys, but a couple of things that was going on in this shot that people I'm sure have questions about one I mentioned I was feathering the light source and let me quickly just grab my rapid box to sort of demonstrate you notice when you saw the video some of the shots you notice that the light if jodi is our model and I'm shooting from this direction over here the light wasn't pointed like this there's actually pointed like that so is actually pointed back towards my camera more than anything so from her angle, she just sees the edge of the light. But that does is that creates that's called feathering the light source. You feather it off, and what happens is the more indirect that light becomes, the softer it gets. It doesn't seem like it seems like if you pointed it straight out of it, would be the biggest in softest. But if anybody is a fan of a photographer named any liebowitz, anybody ever seen her work? Ninety percent of reports that she has a giant octopus or two or three or four of them as her main head headlight, and she feathers the light back away just like that. And that's, what creates that incredibly crispy, smooth, super smooth look that you can see on this image so I move the light into an odd position. It seems like I'm photographing from here. She's turned slightly this way, but the light is over here and then turned this way. So the light is rym, short lighting, or here, but not from this direction from this direct with the mainline source. So that's how we get that beautiful soft light on the far side of her body, the other thing I want to mention is that my background light, which you can see some of them set up, and we're going to use these later to style rx that's. Just a model light hooked up to the vagabond. Many in that little tiny battery pack we talked about earlier with that light is doing is it's got a half cto jail so it's, like about forty, five hundred calvin and color it's put over the front of it to create that amber color on the back of her back. It's not full cto because it would be a little too orange looking. But what I like about that is it warms the shot up a little bit. Looks like maybe there's some evening sun or there's, some light coming, more organic light coming from the background. I've done it both ways with just regular colored strobes on all the shots. The reason I like this is because it warms the image up just a little bit, especially this sort of really edgy, stark kind of london looking background. You know, it warms up her body and just brings a little bit more life to the shot. I really like that. Another thing to keep in mind and how I did the settings for this. I understand I under explosive back on my two stops. So that and the light exposure was probably a five point six I shot this at eleven so two stops darker than it should have been which makes my lights very obvious creates a lot of dramatic contrast and shadows that's my style for some of the stuff I like to do and so the main light was at eleven the back our light, on the other hand, was set to stops darker than the mainland actually about a stop and a half darker than the main light. The reason for that is when the backer light comes in and bounces and reflects back in the lens it enhances the brightness of it's significantly so if it's the same settings of your f eleven on the main line at eleven on the background light you're going to see the background light look like it blew everything out in the background so I said it about between one and two stops darker than the main light so it's real subtle and if you notice the lights look the same brightness even though that one is stop and I have a dark or one and a half times less power ok so here's a couple other images from that set up just some different poses so he moved her for some dramatic effect man she's got that hard light hitting her face which she can pull off because she's totally rock star over there eso looks really cool I want to do some of their looking at the camera so I actually grabbed the main light and I brought it around a little bit when I photographed this, we had a little more light on the face, which looks really cool looks like she's standing in a studio on a background somewhere looks really, really cool on and then yeah, here's, that horizontal shot that I took just for looking up at the camera I love showing that the tattoo that she has, I'm sure that has some sort of significant meaning to her and she can maybe phyllis and maybe she will maybe she won't, but let's awesome really love that lighting on her it just makes her look stunning and then here's an image that I intentionally have put in the slide it I didn't I this is not a bad shot, it's not a bad pose, but it's not great reason is is because number earlier we talked about we like to pose women with more than s curve and that's sometimes gonna be something we see a lot of where it's stuck there all around to add some space here and she turns towards the camera doesn't look great versus right after this shot, we snapped a quick shot because I changed the post and I said you don't lean back a little bit and then tilt your head forward, which adds a little bit more of that curve and then here is the next shot and you can see she just looked more feminine, more elegant, more beautiful and this is a much better look on her body if anything is is when you think about this image, you know you would never stand there kind of like this and so you know, our subjects you know what? We're shooting our clients or whatnot they're like, oh my gosh, this feels really weird so whenever we're like telling our clients to pose and like an awkward manner were say we say feels weird looks great and they're like, ok, I do look great like this I'm just trusting you and so just to say those words to them is very helpful and instill that confidence and then when you are putting them in different curious unless you shoot a lot of photographers which they'll understand why you're doing this anyway, I always say it feels weird to do that, but it looks great in the camera and go for some reason and the camera it looks different so they trust you and they end up sometimes don't go quite as far as you need them to go to make it look amazing, but they'll make it look better by, you know, adjusting that pose just a little bit all right, so this next video we're going to show, eh? So we're going to show us a little more organic alot, more greenery, some this is you shooting right in division's sorry, this is in the bushes. So this one was we shot with the rapid box. Now this cool, simple little green background that the light in the eyes wasn't that great. So we just use the rapid box to fill in the shadows and fun fact on zack saw this location right next to the park, and we're literally standing in someone's driveway. Yeah, that had a line of hedges and that's where she s o asked for permission instead of forgiveness because I should say that, you know, I'm saying I should say that because we're alive, but don't do that do the opposite. And if somebody else he believes is all share cool, but just don't trespass e u one with hangout ones like me. Peter, before I get you perfect right way already. Awesome can might be cool. Like maybe one hand was kind of up like this and looking right up. Yeah, yeah. Cool little smile for me. Yeah, way from I like to keep up or I like thinking in the shrub who held you up way to keep it on your legs a little bit yeah beautiful two more and then looking looking that way that are amazing bride to be samantha this doesn't look like much and actually that that the ambulance 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 itself but if you're looking at even my facing 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 hooked it up to our rapid box and we just added just a teeny bit of light up into the eye so we could brighten them up and dark in the back and I just ever so slightly so her face would really pop and then 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 at all what's very, very natural because 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 hype. 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 boom looked awesome. Very cool. So looks stunning so it looks much more natural. Organic. You know, we have a lot of phil light from the andy it light and she looks smoking awesome and all these shots. Um, sure it lends you should. Which lives was I shooting with me here? Yes. Can I grab my cameras are permitted lens, but I was shooting with was this one right here? Eighty five this's sort of my go to lens that I love for portrait ce I love this lens because it adds a lot of compression. It draws the background in. So makes a look larger and it eliminates distracting elements very well, because it's longer it's, also incredibly sharp in the color is stunning. If you're shooting crazy fast photos at a wedding like candidates, not the best cause the focus is slow because the aperture in this camera gets so large it's very accurate focus but it's not, um fast focus necessarily, but for portrait it's it is money, it looks incredible and I use it most of the time for porches this in the seventy two, two hundred, you got to keep in mind if you're putting a fifty millimeter lens in your camera and I see a lot of people taking moved to their portrait's that way, it's what's your natural isis so it looks very normal. So if you want a normal looking photo, fifty is a great way to go anything obviously wider than that is going to distort reality this way, shrink your background, make the sides look larger if you want to look like you're appearing in on a moment, which at weddings and portrait's that's a lot of times that you wanted to look like, you're looking into something you want to go eighty five hundred even longer and that's going to give you that beautiful, compressed, push the back out of focus and make everything look nice and tightly packed together, and this is in c using longer lenses is way more flattering to your client on because the wider the lenses that you use, it starts to distort with on the edges of the frame, and we don't want to distort our clients who want to make sure that they look their absolute best, so any time we're shooting a portrait, I had my mom, she sent me a text the other day, and she said, you know your friends and says pregnant f attire for did a session of her and she hated the images and she blamed it on herself and on her weight that she had gained and that's the last thing we want to claims thinking that it's their fault. And so my mom took a look at the images and I was like, ok, because my mom offered to shoot her and redo the session I like when you shoot her, shoot her with longer lands not a wide when that'll just emphasize everything you want to compress it down. So a long lens is the most flattering to our clients and we're always trying to shoot in those unless ruling for more drama. Look this one early we showed because, well, this is one of the first times we shot in. The reason I put it in here is because it's a cool shot I mean, she looks like she always looks like she's laying down on her back, which I think is cool, but the only problem with this compositionally is that I cut off her fingers at the top, so not the best white thing to do either put the fingers in her outside, pull back a little bit, snapped another one way for them to get one without her, you know, fingers being cropped out the shot here's a behind the scenes you can see this is with no flash on, and you can see how that light on the background still looks nice and bright. But notice the light on her now doesn't look so good. It's kind of dingy. We've got all those shadows underneath versus what we were looking at earlier, much more beautiful and that glamour light again. That's. The reason they call it glamour lights is because you should shoot that glamorous people. So because samantha's glamorous, we can shoot it at her and she will look good in it, meaning we can shoot the lights straight on shows everything while the cameras shooting straight on. But most of the time, we will not use this kind of lighting with sort of a normal looking person that maybe has around. Our futures are not the best skin or whatever because we want to emphasize great stuff and then hide some stuff so well when I was recommend that lighting pattern.

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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