Shoot: In Studio


Multiply Revenue with Bridal Sessions


Lesson Info

Shoot: In Studio

So now we're gonna do some live shooting in the studio is ready to rock and roll all right, so we got some time here so what? We're gonna dio way free to move about the room here a little bit of good stuff out of our way here. All right, let's get these two way so we've concocted here just a little simple set. What I like about this is you know, you may have the opportunity to go out and shoot on location, but what if you have to go shoot in grandma's house? What if you're stuck in a situation with crappy lighting with no lighting? What can you do? So here we brought in a few simple props and actually owned some of this same style stuff and we know creative ivan said just bring some of this stuff and set it up for us so what we have here is some simple shears that you would see in anybody's house we have these in our house. This is some fabric. We buy some of this stuff from jo ann fabrics before and they have a bunch of different kinds you could buy by the yard it's got like reflect a...

nything with reflective material on it's going to look cool if he set it up in front of a window or if you put a flash on it because it's going to reflect all that light around this is actually translucent you can see through so later on after jodi doesn't set up I'm going to do a shot on this and try to make it look like it's not translucent so I'm gonna shoot light through it but completely obliterate the background hopefully with my off camera lights and then back here if you guys can see this we just have some white again some joann fabric style material behind it we just have some christmasy looking like things and this way we'll flip this back on the other side and then behind that in a second would be behind it we have just this uh, more material kind of like this stuff but it's just a different color and I've got some reflective qualities to it I'm actually put this behind here, which is where it's supposed to be and my wife will fill in the dead time a lot going on a little more software it wasn't that's why we did it wasn't it yet so we did this on purpose we wanted to tone down we can't really control these lights so power, lies and way if we're using flash that I would set it exactly I want because we're using when the light I need to pull this down just a little bit in power so that is doing that let's bring in samantha our bride the veil in the whole time let's go they didn't, and if you have the liberty, this was cool, I'm actually pull this back down a little bit because I'm just looking at the background going there's a lot of late here, but we have this cool like we've added ourselves so let's just try to put more light here, it's great to have a black reflector for situations like this, and you need to remove light, so notice as I pull this down, is pulling some light off the backgrounds about a look more let up and cool, and then we'll have more of this natural light on this side, and it should actually should look awesome. Throw this just on your camera in case you want to add a little kicker and what jodi is going to do and the reason I like the three elements here, we're going to do a layered composition shot, so we're gonna have some of these shears in the foreground. We're going take samantha, we don't really have anywhere cool for her to sit. What? We just got this little, simple things, so we want her three quarter with blank, their upper body to look really stellar and do some nice sitting shot's going to sit her down here, and then this will be sort of are really blurry background gonna shoot a very shallow depth of field. So this is out of focus that's out of focus and she's really crisp right here. And then we got the vale probably hanging over her face. We actually have a fan over here to which you don't always have access to, but if you got it, you might as well use it. You may be able to blow the veil back a little bit, make a look really cool, hopefully not blowing off the top your head or destroy your here. Yeah, more late on her face. Do you do this on a lot of times when the a talent or our bride is coming in, we'll take a few shots of each other a little bit a little more. Okay, me. So my wife is telling the otherwise we're gonna add a little extra light, but of being better, yeah, tested out. Okay, okay, so what we always want to do is when we are shooting our bride with love giving her instructions instead of just like, hey, sit down and then we spend a lot of time, like wasting telling, trying to get her toe suppose exactly how we want. So what we're going to do is we're going to go ahead and show her how we wanted to sit and against the smith you can come over here and, you know, like, we were telling you yesterday you wanted to kind of sit on the edge, we almost feel like you're going to fall off your body is going to be facing this way with your knees, and then you're gonna look back towards this light with your face, and I'm going to be shooting about here and see, you don't have to worry about your feet or what they're doing that looks can just speak to this side, don't fall, please don't follow that would not be good. And so now what I'm doing as I'm just taking a quick look at her hair, and I want to make sure there's nothing like a monkey or upward going on that you'd want to look at that photo later and be like, oh, my gosh, I wish I had yeah, is it possible? I don't know if it's possible to pull this light down and power can we do that? I know it'll kill your video just a touch when we want a little more drama on the lighting on her beautiful, so now he gets a little more contrast, which I think is going to look a bit. Better so it's gonna be very critical position and her face towards the window to make it look right and was sure lighting this is a good thing remember, joe is going to show you more of this but the easiest way to short light someone is this sorry it's in my pocket easiest thing to remember is simply turn your body away from the light turn your face back into it you're shortly you can also short let this way are short light this way but then you broad light the body and depending on whose body it is, you may want to reduce the size of it so turn the body away face back into the light your short lit and then shoot from the shadow side that simple I just wanted you to do something take expletives I'm gonna stand where my subject is and where the light is hitting her accorded up so I'm gonna go ahead and point just tweak my excellent as well zach tweaks away and I'm just adjusting my camera setting so I get but down the line exposure and I'm going to give a head and apply this in camera look at that screen you guys are so techno savvy around here and we do this on all our shoots to the bride has google glasses so she could watch a shooting her in the holding you hold the expert now I'm just trying to make this look interesting the air conditioning I think it's blowing it around you tell me what you need if you want to change but now I'm just looking through so first shot out of the camera she looks stunning so wait for it wait but paradise right man yeah so you can see right there that just said she hasn't then you've got that war not on orange from sunlight I'm awesome we've got that warm orange tongues firmly in the background heading or which looks really, really great script we look on this one for the in class students you could really see the actual color there I don't want to freak you out a little bit all right let's do that again and I'm gonna go ahead and take horizontal one get a little bit of the sand that you can't see it to know it's awesome you're gonna move that a little man don't worry about it oh I can't move it everyone gets the idea also that thing things you do working live in the studio this just so really you look great but um alex gorge come for my stand in the background you know where that would be like your clients curtains hanging on their wall see what it sees so it's clear doing the same thing looking at what like security I'm just going to get in a little bit tighter focus on her face and as I'm shooting and keeping in mind the rules of thirds, I'm just keeping your eye on that upper third let's do a quick rog yeah and so what? So now what we're going to do is we're going to show you right now her body is angled away from the light snow falls in the shadows like we talked about you know that short lady where just highlighting a sliver so now I want to show you what it looks like let me take let me step back and weaken is it back and you take a step back and just do a vertical loom and then it takes a samantha no it's too in your body facing toward the light yep, exactly the same thing with spring so because she's so thin and trim she's still gonna look good this way but this is what we would typically not try tio dio as faras lighting the body goes and you'll see here when it comes out so she still looks great with that. But if you had a bride that you were tryingto under emphasize her size this would not be the way to do it on then actually do abroad do a total broad shot over here so just give me a favor, my dear pop up for one second now just sit right there young, same same thing and then jodi's is going to take a shot of you if you're gonna turn your face towards me. There you go. So he's going to do a quick broad, let shots you can really see the difference on the drama and dynamics on her face when you care about her background now you should be able to do it in a way just to the far edge. Please, my love a little bit more. Uh, okay, here you get so here's a problem that shot, which is not going to be the most flattering, beautiful light typically any anybody say so you can see how much it makes your face look a lot more round that it actually is versus the initial damage not go ahead and let's get you back on the correct hop up real quick this week compared this way and then shoot one more similar and I were going to be turning his back to last but I'm looking over the shoulder again and actually do me a favor mind here turning them more so you're kind of looking really over the shoulder. Yeah, gorgeous, gorgeous looks great way dio oh, so you can compare the two beautiful that looks stunning on her, she just looks. Awesome like that ok, you want to turn out the background that's or do you want to go ahead and let's do a couple without this so now we're just gonna turn off the background does he had those lights they created like a nice warm and then we'll do a couple with the veil over and I'll grab anybody nor my reflector is I think it's over there someone wants to snag it real quick. All right? So we'll do a few adding a fill in a little shadows up close let's have you in this way but then it looked down over your shoulder. Yes, beautiful going can you get tweaked that background to says there's like a line running right through good, perfect and that's a place of having a second person you just get that having seven an assistant doing great but you didn't get mark's boats waiting for the booze. Oh, yeah, good. Just wait for just cycled through mca pulling over look good quick I'm gonna shoot even tighter get a little bit of the curtain in the way it looks like I'm you know absolutely stunning and that's what I love about being able to use things in the foreground because then it looks like you're just peering in on this on this moment could chat samantha veil over well housewife let's do it right through. You know, we had talked about you could just take the veil and kind of throw it over the face and get a cool ethereal cereal really cool. Look, you always have to be careful too, because the biggest worry is your bride she her hair and also her lipstick the last thing you want to do is get lipstick on her, see if we can in a great check too is to get some goals in the veil on that really adds sort of it just being a flat bail. You get these cool? What? You guys want to be my fan assistant? Anyone? Anyone? Come on, don't be scared. Get your face on creative lives, please. There's a little handle their fuel use even grab it like that. So I actually have you actually come over here. We want to avoid blocking any light that's hitting our lovely bride. You check it and said yeah, I should let me put it right over here. Oh, go ahead. If hello, gorgeousness lou! Yeah, that looks awesome. Bringing it actually turn it up. Click go up a notch, who's. Going to look amazing coming a little closer to her, all right, uh, slightly down boob in shock because I'm shooting and really close tio samantha, we want to get the reflected really close but at the same time it's that balance of getting it close to get a lot of light and and also staying out of my shot never get injured his way slightly down bub sorry he's gone coming higher because I can't hear you keep looking down that looks awesome area and I'm going to go ahead and get another creases you you doing ok I'll keep looking down that looks absolutely beautiful you want her to know that looks great I'm trying to be careful about not getting the floor in there actually will you move the corner that of the yes perfect yet let a lot me a little bit better than get the framing of the moon here you go you go ahead and take your handsome in that and then hold that right there. Yep cool some having samantha holder veil because the wind blowing we like that look but then it's also pushing it flat so then you can use your bride toe hold a veil is samantha to your body yet? Perfect and then look more over your shoulder and then shoulder nice and back now just be awesome go e six and vertical shots slightly down they just like happened yeah you love it analogy the reflector alex and conceive a difference what it's doing so you can see less less contrast we're sorry more contrast on this shot and not quite as much filling out of those shadows which looks great okay so saying being looking down and then we'll do a shot with you looking up at me you have to talk about a court so hard and I look up with your eyes yes but I don't want to make sure you and then that today you look and everyone incorporates um even more color to her lips let's go ahead and bring your veil I mean your your bouquet up here yeah, there you go looking now and again let's have you looking off this way and down our way look down into your flowers but actually in terms straight towards us yeah I've got a sweet it's not just looking to your flowers should focus points lighter one no, you're perfect for a lot of your work and then I'm gonna do one just focusing on the flowers and running my focus but no and set up a real tall they're scraping stunning and I'm taking a look at this and I'm looking at camera uh right and I'm seeing that little hair coming up behind her ear so again I'm just trying to keep an eye out for this thing so it's not something that we have to fix later and she doesn't write the photo off because she's like on my hair looks not so good they're jodi's very detail oriented in case you couldn't sometimes tv deal to let them know that she loved me for everything you do is perfect with a very good job. Just keep creating our son in your belly. You can wake up in the stands that yes, love it. See it? A lot of technical questions, especially about some of the gear you're using on. There are quite a few people wondering more about the expo disk. And I remember this from our last the last class, your three day workshop, that everyone was really interested about that exploded. So are you using it for just your white balance for your exposure or both? So that exposure and the color our boat that you're seeing on the screen are both coming from the expo disk. So, um, as you can see it's giving us a nice white whites there's no crazy color there's no oversaturation of color is not there's also no weird blues and greens. And I need the photos. If there is, you need to calibrate your monitor because it's your monitor it's. Not that hopefully, but the great thing about that is it allows us to in one foul swoop to capture color and exposure at the same time, the way that it does that is your camera, uh on ly understands one thing when it comes to color and exposure and that's eighteen percent gray so if you give it that full frame in whatever lighting situation is falling onto your client that's the key whenever lights having your client if that light hits the great card then hits your lens and the camera reads that at a correct exposure which is very easy to do it will then sort of your camera sort of wakes up and goes oh I know what color to make this and I know what exposure is correct now because the camera is this was called a reflective light meter very inaccurate the problem with a reflective light meter is it looks at whatever light is bouncing off of so as we all know if I have standing against that wall and I put light on me with a white dress I wouldn't be wearing a white dress but you get the idea if I wass more light is going to be reflected back if I'm wearing a black tuxedo less light will be reflected black does that change the amount of light actually hitting me no it's the same amount of light just less is bouncing back so that's the problem with an in camera meter is in camera meter just sees the light bouncing back and if it sees dark it says shoot brighter ifit's bright it's a shoe darker well the expo disc removes that problem and it just gives it one consistent eighteen percent right down the middle color and uh uh reflection of light so it gets consistency so jodi just simply walks over export. This is use the opposite of a great card so great card we would hold like this in front of our client and we would take a picture of the light hitting that that's hitting her face same white and then we would set that in our camera to accustom white balance explode issues in reverse where you put it on the camera and just like jodi will do here you put it on your camera you pointed to the light source in this case because their latest dominant right here we're pointing out that way if we're outside and light is coming sort of from everywhere we pointed back to camera position and that light then passes into the expo disc you're in camera meter if that's zero you have a correct exposure guaranteed every time because it's the camera never screws up eighteen percent grade. Then we also set that to accustom white balance. And when we do that, all the colors change to whatever that color temperature that specifically coming out of that window is which could be ten thousand one hundred degrees at a twenty seven percent q you know how you ever gonna figure that out this what you're doing post for about three hours on every phone going woods right instead of just getting it nailed right there and then tweaking it toe however you like it we m created some videos talking through the exodus exactly how tio work the expletives so one it's outlined in our natural like tv that we have but if you sign up for newsletter at creative live dot zack and jody dot com we will go ahead and send you guys a separate link that links to those videos walking through the steps of how do you like that it's in this that's it's awesome and it saves so much time in post production I know we talk we've talked about it you know in workshops that we don't in the past but our entire wedding workflow from front to back download call through all the images about three to four thousand for an average wedding edit him all retouch them all pick all the shots for the album export them and upload them online takes me on a hot average about two and a half hours so it seems insanely fast but that's because of great systems in smoke and system shooting really well in cameras here colors beautiful and you don't fixing that little hair all those attention to detail allows our post production of fly then of course there's a lot of tricks we do in post is well to speed up the process what if you want that kind of you know editing time it can be done I promise you that and uh oh yeah we haven't even coming out and if you want to learn more about the extra vistas well our one of our loyal fans and one of years as well she fido in atlanta rights watch their seal wedding course and they show exactly how to use the expert discounts roger in detail so stripping got a creative life dot com forward slash courses and finds that jodi's wedding course there too. Oh ok so we're gonna do one more set up right here I think we're just gonna have jodi do the same thing we were gonna had a little kicker light something really simple to do we've got this beautiful light coming from the window but then we're just gonna add a little bit of light from our slocan awesome rapid box so there's two things that we can do we can either shoot it with the diffuser on it but back ground light I tend to like a little crispy so we can take off the front diffuser it's just going to crisp it up a little bit so we're gonna have to do the exact same thing she was doing what's your other speed so I should just means one two hundred which is perfect it needs to be that a lower in order to use manual flash so remember something to keep in mind about your camera is every camera has with called in x speed so he shoots you fast it's not going to able to capture the flash so for cannon the ex sing speed says passes you can shoot without its starting that cut off some of the light that's hitting your subject is one two hundredth of a second okay trigger that one maybe uh what okay let's switch may hold out a little higher and then just tilt it right down here go ahead and flash of jodi who clicking it woman take that little test button on the side that may need okay area jodi to set the test button please well I pushed the trigger down and so I'm taking a shot of the floor what do you what's your aperture two perfect so I'm at asked one points here we're gonna pump it up just a little bit now we got a nice fill flash just a little bit underneath coming back in like just not going to be his brightest mainly let's just do it you want to like him here okay we're gonna set up the next short all right here we get in gorgeous samantha great focus point is with the city well it's a lesson I shot on screen there that wasn't a shot of like somebody's butt or something so check it out looks really cool I've got this beautiful added in light you can bring your appetite up just a touch, because I pumped up the light just a little bit. But looks really, really beautiful. Stunning nicely highlight on her hair looks great.

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.