Outdoor Shoot Video Part 2

 

Multiply Revenue with Bridal Sessions

 

Lesson Info

Outdoor Shoot Video Part 2

Next video we're going to show you is you wanted to take advantage of the natural light that was around and then we are also bringing on in a reflector to enhance the available light to make sure her eyes look awesome to save us time and post dodging and burning so here we go great close up shot of their face and so I'm looking for something interesting in the background that something right about here very close but I was like something in the background that could look cool too so we see some of these purple flowers over years we're going to go ahead and try and incorporate those in it and then also just this will be just a very soft background so you just get a great close up of her face is well let's focus on jodi's propaganda is a fifty millimeter so then 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 it in anguish she it's that's why she's choosing that probably shoot more shallow so the background looks inte...

resting because it's not amazing because it's a little dead flowers or not super happy right now hopefully it'll work out what he wants us in in ways shots so way tonight exposed this way quick exposure way I'm gonna be on this side so way reflected for you reflector. I'm using the silver side, the reflector, because there's, not a lot of light way, need to add light under the eyes, because there's again, those shadows were coming straight down. We have some 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 shadows, and 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 it as phil light. Just put it the opposite direction of the naturalized oven actually it's coming down so I'm underneath it as you can see just adds a tremendous amount of light in your face and jodi will tell me if it's too strong way look over this way so I took my first shot what I'm doing is I'm checking my history making sure that nothing on her is spiking on set so you can do you can hit the info button on your camera and metal even show you the arch way yesterday the biggest thing we're watching out for is their biggest exposure of her face way also want to make sure dressed blown out his face a little part of me wants to shoot you don't like this so well the reason I'm doing that is because george is gonna shoot a little more from this side of her face I'll put more light on this side will have a nice shadow on that side which is sort of short lightning it's not really but it's more light on this side versus decide jodi's shooting on which as a nice contrast to the face and it's a great effect and I went ahead and I've got my aperture lower and so what that does that affects my exposure so I'm going ahead I'm just getting another reading here at the expo disco just making sure that I got my exposure now she's got a color and exposure failed at the same time and what we're using here this is called the ex potus can we have a lot on our blogged about it talked about about a creative like to it's a great festival get that exposure and your color right on camera then you can shoot at me consistently and then editing because please on the back and because you're not editing each individual photo because your camera shooting on auto so that's why I loathe scene and then I'm gonna get it's awesome that life that's really great but so I'm going I'm just checking that's living and making sure my focus is great trick is well is when you're shooting on cloudy days your images will go up former don't put the sky and you're shocked when you include the sky and you shut it just makes the image with more drab and I'll go ahead and I'll take a shot with the sky in in and out and you'll notice that the shot just looks weighing warmer you have just the community in a way like smooth I'm constantly readjusting my reflected having a good assistant always have an assistant but having to get assistance important because also in there over you're looking at all something like the light on their face is terrible I'm always watching to see what I think light is doing and if I think it looks good it probably looks good so an assistant condone that samantha's amazing eyelashes, so now I'm getting really want to capture as I'm shooting down. Samantha, I'm noticing that. And now, khun, see it. What she's sitting on, which is our undefined bag cover, which is really great, that you can get off and have your subjects that on him, we're just going to go ahead and just this. And here, get up just for a very try that a great tip is. I love to shoot down on rights because it really? Candy emphasize what's below their head one of she had a millimeter lens for hire fifty and so what's great about shooting down on them that emphasizes their waist and the rest of their body what's great about cement that she's tiny as it is but what right doesn't want to look even more attractive and more closer into your subject that you're shooting them? You need to be careful of your appetite I was shooting at teo and I was shooting you know from about full length and kind of just some nice raining but now that I'm getting really tight on her face it's really easy but missed that focus I'm actually gonna but my aperture up to eight and then this takes two seconds I'm just going to do a quick check on just my eye so I'm just going to do it check exposure and now we're ready to keep shooting and manual and really tightens act of course is moving this goodness around so this is called clamshell lighting there's light coming straight down from the sky and I'm reflecting indirectly back up so it's gonna eliminate all the shadows underneath and it's really, really beautiful lighting and it just makes her face she looks alright let's weigh your face big thing is and I'm just gonna shoot around making sure I'm not getting any other way stunning, beautiful awesome so really cool so like journey mention we're going to show a few different images that will show you guys the different variations of the stuff that we had shot here but here's the one of very first shots a great thing about shooting on a cloudy day again as we get that soft light we add that kiss a reflector and where I was the main thing we're watching is the eyes once the eyes lighten up we know it's going to look great because we're filling in the correct shadow so when those eyes get nice and bright we start shooting and as you can see, we got this beautiful highlight she's short lived beautiful texture on the shadow side of her face we have that soft it almost looks like there's another light coming from the top, which is obviously the sky but we had a lot of reflector in there to really light up that whole side of the body and it just looks great you can even see you know the great catch light in her eyes in this shot here yeah, just her face just lit up and it looks really beautiful and the post production on this is so fast is you're turning this photo from a raw photo back into a j peg and because every all the elements that you need are right there already and you don't have a lot of work due to the image and this is something we always do, we'll come in close capture some details shoot down slightly from, you know, head shot or just, you know, not not quite three quarters we'll capture some images like this getting the eyelashes her eyelashes looked phenomenal that days we want to really capture that something tricky a true little trick to to getting better I last shots is I don't ever want to close their eyes because they looked close I want them to just look down like they're looking at their toes right there belly button or something when you do that it makes the eyelashes like very natural instead of pinched clothes which doesn't look the best now here's a shot that has the sky in it and you still see the vibrant colors at the bottom but just including that sky and there can really just pull that image down and add a little bit of drabness do it makes it makes it look cold it doesn't make it look as warm as opposed to when you crop at the sky altogether that and it just seems to warm up that looks like it could be a bright, beautiful sunny every day and little do you know it's this cloudy over catalytic at a fog machine going in the background and then I mean it was just crazy I was like more fun please a couple more here just showing your smiling you can see that beautiful light. None of that is enhanced in post production and a lot of things like how much contrast should I had to my image? And how much sharpening should I add? And a lot of those kind of questions and I always say that all that stuff should be shot in the camera contrast is created by lighting. It could only be enhanced or altered in post production, so you're just tweaking what's already there when you get in a photo shop versus something like lightning, which is what we use for all of our editing I want all of these were edited in that is where you can start changing the natural contrast by dodging and burning and doing all this crazy stuff. The reality is that never you can always spot and over worked image because you have some light and coming from here over there, whether isn't an actual light source versus like this what we just have this relief organic filling in the shadows, light source it looks really beautiful and you can see there you can really see her eyes just explosively kaboom in that shot, you know, that was that clam shell lighting where we eliminated the shadows underneath her face, and if you watch any of the talk shows like you name it as the view are, you know, entertainment tonight or any of those shows. They're always sitting at a desk and I have a beautiful glamour light on the front of them. You don't see it it's out of frame, and then they have a lot of light underneath their chin. It looks like their faces kind of glowing, and the reason they do that is because a lot of those people on those shows were getting a little older and they get a little wrinkled. And when you have light coming just straight down, it's going to emphasize whatever you know, anomaly is on the face. If it's a wrinkle of its skin imperfections, whatever it may be when you put that light underneath, it fills in the shadows and it makes the skin look flawless and makes it look like you already went in and re touched it before you ever retouched it. Looking that's a great effect, more images again, just beautiful light in the eyes. She just looks stunning, different pose here. I really like that she was actually starting to get up and we were like, wait a minute, sit back down a few down again because she looks so gorgeous with that shoulder tucked up by the chin that's a great pose that we like to use and then this year's photographing slightly down at her you can see how just absolutely tiny her body and her waist looks it looks beautiful, but it doesn't look inappropriately small. It looks, you know, this looks like she's really tight, and I'll check the next thing is that this next one is without the reflectors, so you can see with the natural light does without that reflector reflecting that beautiful lady cienciano eyes go dark, we still have that nice light coming from the top, but we are eliminating all those lines any you know, bad shadows that we don't want just by watching those eyes. So that's, why having something as simple as a reflector popping out? And if you should buy yourself, I've done this many times it's like laying on my body and I'm like click click, click, click because it looks like that versus like that huge major difference in our, you know, samantha's off they're going don't john that photo, you know, so many people looking at you, all right? So the next video, we're going to do something really wild and creative when we first got on location we had of election time, if we're doing a shooting, I want to do something fun of multiple lights I I'd like to get there ten minutes ahead of time or fifteen minutes at a time that I'll set up sort of here's a cool scenario I'll set it up in meter it and get it ready so in this next set up you're going to see the behind the scenes you're going to see a four light set up the back we have this if anybody's been to carry park here there's this big metal structure kind of sit in the middle of it and I thought this thing is interesting but if I just take a photograph of her and with a cloudy background it's just gonna be that metal thing with no dynamic lighting on it and all pure blown out white background so can we create something really dramatic cited a four light set up I've got a main light phil light and then to background lights on forty five degrees teach sides you're going to see all of that set up and then we're going to show you the images that we took so here we go I think we'll have you sort of sitting more this way we're gonna have you looking over this your shoulder towards this big light ok makes sense yes and that will make you look cool and get in there already that's it really far forward really actually been leaning a little this way but they're looking back that way yeah that's pretty red and then way except the flower wait a little more cover up the left hand maybe hip on this side feet flat yeah dang and awesome right now and then don't hate me but can you see the whole body that way that's perfect yeah that's pure awesome that actually might feel really crazy lean a little more to me more that way and then looking that way yeah feel weird little of sunny sweet here sweetness big smiling for me yes and then looking right here me and give me a little more you don't have to smile for this one just breathing through your mouth oh yeah actually that looks amazing let me switch with eighty five oh my gosh stunning chin up just a little yeah bring it back a little ways all right a couple more and I love that may be one kind of with your hand up by your face you're not a bit yeah that's also holding this jodi les filles looking right here again to me an almost maybe that's like yeah that's awesome awesome this morning really cool looking about my life for me yeah, really cool a couple more it's gonna make a quick adjustment that looks great actually back no back what good caught on your toe? Yeah, yeah that's great couple more my dear like that looking down with your eyes really cool new journey a little less like please wait wait do wonders with wide and the way is a little more yeah, really cool and rotate your put your way. I can't wait, so, yeah, this was my actually favorite set up. I really dig something different, something more edgy, more contrast e and this is hopefully a look that a lot of people that came down to this park and shot on this same metal structure, which I'm sure is one hundred different photographers, hopefully didn't do they didn't take the time to set up something like that, so I really like this because, um, it's got a lot of dynamics, it looks like she's honest, a set of some kind instead of out in a park somewhere. So I tried to eliminate any distracting elements from the frame and just use the the cool, you know, look of the structure, the background, and then the lines and then her body, creating a lot of interesting lines to make a really cool shot may have seen from the set up did the same thing where I had the light hi, but it was more now forty five degrees to one side, but I still feathered it off so that we didn't have a tremendous amount of light hitting the top left of. The photo and blowing out that area because of the light was very close to her, and they're also created that softer effect on her. We also have that other lights on the ground, which is just another strobe firing off phil lights that, like, when you look at the ellen chrome range about ellen, come, ranger quadra they have two versions. One of them is called asymmetrical emergency taken notes write that down and it's. Also in our deal is that we use the asymmetrical one. What that means is that when you fire the may, if you put a plug in to struck, because he could hook up to do it when you fire off the main one and use the other one anywhere else. It's, technically, not exactly, but it's technically one stop darker than the other one. So I know if I just put up the main one and set this one in the general vicinity to fill in shadows at this big lights going, create it's, going to fill in the shadows, right in the range of where I wanted to be, then I can move it back or for just a little bit to tweak it, and for this case, we just moved it back, but you can see they're still light on the two camera left of her sorry camera right of her face there is plenty of detail there's not really, really dark that's coming from the hill light than those two kicker lights are framing and creating this cool highlights in the back of the structure the next time you choose with natural light was doing so if you just take a camera and shot this with a natural lead exposure this is what you'd see you can see you know the next shot when you add all these elements additional lighting it just creates a high, more dramatic shot. Same thing with the background lights do. They were simply two stops in this case underneath the main light actually overexposed background by two to two and a half stops for this particular shot to create a ton a ton of dramatic drama there's a shot like the one you saw with the natural able with the strobes on and it creates this really cool ethereal look also have the nd filter on. So I should have shot these that have ten that was on my exposure was according to the meter, but I put on five stops of nd filters and got it down to around f two or f one point eight it's whatever that conversion is, I think one point eight here's a pullback shot showing the two kicker lights that we get going background and sometimes I love these shots and clients will love these even though it shows some of the lighting dear, because it just looks like they're on a sect or something really cool like that. If it's if it's done ok, cool this next shot here. This is with the front light's not firing off so you can still see that kicker light hitting her from camera left. But you get an idea of what those lights were dealing when they came in to fill in all the lights and while we're shooting, even if it's not the best conditions of the best situation, jodi will be in there looking for things that could look great. And in this case, we have this really cool. She was leaning forward. She's got these hersh jimmy choo shoes. I'm sure she loves those shoes correct me if I'm wrong. So getting a nice shot of the shoes showing a little bit of that tattoo on her leg really cool supplemental shot, an album turned a black and white looked stellar, and then I was getting some details showcasing and the shoes and the dress for this particular shot. So this is another great supporting cast out image if you're putting it in an album or something. And then I came in the solving coming for those close up details, this is again with the eighty five just using some of that background is a cool texture, so you don't necessarily know what it is, and then because I'm shooting really shallow, it throws everything out of focus, and you can see the beautiful light on her face and get a really good shot of her hair and all that kind of stuff. And then don't be afraid to take advantage of different lenses. This is shooting on the thirty five, right? Yeah, I think the thirty five millimeter fixed, I believe my shot this on and what a cool different look that this gives just by shooting at a yeah, why don't know one thing I don't get excited about if you get really analyst like the little bits of trees in the background, but I'm not going to go in and take those out unless she went this is the money shot, I'm gonna hang it on my wall and if it really bothered me that I'd spend a few minutes pulling those out if I wanted to know if it was gonna be a canvas, but if I'm proving it, I clicked button edited this really quick, I'm not going to do anything else to add much she actually orders that photo. And then here's, a really quick glance just you can see some more of the lighting and notice you can see the light pointing towards the camera. It's actually feathered past her face and the only way you can really pull that off unless it's really dark out as if you have a much more powerful life. As soon as you feather that light away. Once you meet her over here, you're catching the edge of the light. You have to have a much stronger light in order to get that light onto their faces, correct exposure. So when you're shooting with a lower powered flash feathering the lights, probably not a very good option for you. Okay, so I think I have one more yet last video on the rangers and live shooting, which was exciting, eh? So what is in this video is walking indoor, so we're going, we like to get the bride moving, do something that especially have a bride and not that samantha is at the low at all, but if you have a bride who you're having a hard time getting a greater, you know, expression out of her, just she just doesn't feel comfortable because she's sitting there posing, usually when we start a session, we'll get them moving, we want them walking. You know, chatting engaging with us doing something more natural and we just give him a little bit of guidance on which way to look or those kind of things and then we can get some more candid feeling images items we're going to show you this video then after that we do a little you know, one more set up by this cool door that I saw that I really dug so we'll show you that way wait wait wait look up often like more way to slow down once bob into stuff instead of you know I can't feel like taking them like a little more like really looking at that weight little smiling yes way yeah smiling beautiful little sassy in a new one light very high over the top about one hundred twenty degrees and height pointing very far down well that's going to do is 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 what's called clamshell waiting so it looks like a clams eating her face with light and just about something light back up in your face to make it look really you know fill in those shadows for us I'm using the thirty five millimeter fixed lens from signals is not a lens I would normally ever even think of, but lens reynolds was cool enough to send us a few lenses and they said this lens was super sharp I didn't believe them till I tried it and holy cow it looks right to leave this a little bit you're gonna have one of our guys just hold this for me just like I want to get a little lower and the reflectors not going quite get there for us you're just gonna add some light you get away with doing things like this when you're not stress going really fast at a wedding day because we have the time to actually play around knew this and it makes them feel like iraq sarkozy like who I'm getting all this cool photography treatment same thing I'm just adding a little fill light underneath from for migrated light right here so we can fill in the shadows underneath there was gonna check the powers and writhe it's a little too strong powered all right now let's actually let's move to this side because I'm trying to avoid that thing so lean and are not science we're just leave us in a little more right there yeah that's often super cool that's awesome couple more doing looking over this way for me so far profile anymore yeah really cool let me just happen with eighty five actually one more thing looking up with the light for me bring your chin centered stepped forward just a little bit looking totally just and totally straight yeah looks like step that way smiling they're like a little laughing on awesome way gandhi oh, baby, no idea for those of you just tuning and we just ran back from shooting outside and changed all our clothes. Now we're in studio just kidding. Um yeah, that joke totally failed. So yeah so I love this because it's a little more organic really different look so she's walking jodi's saw this framing with the cool stepped I really love the way of love pull back and captured a few different images here's a few that I took from the side I'm just grabbing some nice natural expected this was a funny energy because it was a very steep hill. So she's walking down the hill at first she had her shoes on. It was like I was afraid she might fall trying to, you know, smile and look, you know, out towards the light, all this stuff, the next shot that you see here is the setup that was not on the video that you just watch and this will be on the video that you'll get when you purchase the course and the lie on her was really beautiful from the ambient light, so we went ahead and stopped and I loved the framing as well, and then we also utilize our rapid box to pump in a little bit of extra lights that's a little teaser what's to come just add a little more dynamic contrast to the image that the ambulance wasn't giving us and to tone it down just a hair so those couple of shots you can see really and that's just from that little teeny rapid box at the five eighty and you can see just how beautiful it looks um these were from the shooting up against the door I really love this look she looked really glamorous her neck looks awesome and the shot I just love the way that she looks and again we'll get the tattoo included in the shot looks for the cool there's a horizontal image that we took I'm just showcasing that door frame and I just love the look of that door and then I pulled her forward and I threw on eighty five and put on a nd filter and we went from shooting it out I think we're at f eight summer on their two shooting this at around at one point six or something like that to get that extremely shallow background and it just looks really, really cool and then we always do this locked you will pull down and do stuff that we would do it a wedding day shoot you know, capture some details were holding the flowers you know, just some of that kind of stuff if she's wearing a really dramatic dress you can showcase that stuff and then this image you didn't see us shoot. So this is another part of the video that's going to be available when you buy the download this was on our way walking down the hill we just saw this cool sort of green trees in the background and I'll show you in a second exactly how we set this shot up so he was behind the scenes just getting ready. Jody grabbed this with her iphone and this is what the natural light was doing if we shot up from a cool angle. So jodi got some really beautiful shots of her from the side. So look great as long as we included the greenery but then this is what I was looking at just down the pipe where I shot her there the froth photo shoot with all the lighting on it. So I let the background I'm let the back of her and then I let the front of her and this is what I looked like ambient wise and then this is what it looked like when I lit it with strug's going also completely different. Look on all of these images that's what I love about light because you can sort of pick and choose what I want really natural dough I want really dramatic taiwan, all kinds of crazy stuff going on and you could do it everyone

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.

Reviews