Multiply Revenue with Bridal Sessions

Lesson 13 of 18

Shoot: In Studio Part 2

 

Multiply Revenue with Bridal Sessions

Lesson 13 of 18

Shoot: In Studio Part 2

 

Lesson Info

Shoot: In Studio Part 2

I'm taking a closer look to you, and I see the veils kind of popping out a little bit on the right, and I'm not quite the fan of a little mold it's getting so I'm just gonna train smooth that out of it. Well, you're doing that. Maybe I'm going to start getting this next shot set up. And while while you're saying that a few people are curious about how many bridal sessions used a year kind of pro ratio to your wedding clientele, that's a good question, I would say, because we live in the south it's something the majority of our brides do like, especially when you sell it to them, you know, the way that we have invested in our clients, you know, as I had mentioned earlier, there's a lot that we have to do. So if it's a busier season and we're like, you know what? Just having an extra session for each bride, like, well, maybe throw it out there, but won't necessarily like hard sell it, so this is really kind of like we take it as our schedule allows us or if we want that extra money, then...

we're like, sweet, so pay for decorating the maid's room nice and earlier people are also wondering about how many photos you shoot for a bridal portrait session because we saw you on location yesterday now you're doing an in studio right shoot about you normally do a couple different locations and after times well dio one location that has different places, different setups that we can utilize so we're not traveling around a lot, but yes, with different setups you do get more, you do get more images, the key is, you know, we'll shoot quite a few hundred I mean, we just saw a shot, a session of something else, and it was like, I think sixty nine hundred images and we didn't even realize, you know, you don't realize how many images you take, but I think the key is when you do have those sales sessions that you are not overwhelming them with them, it doesn't say but low it and if it's appropriate, but you're not overwhelming them with a ton of images because it's at that sale session that they have to decide which image that they want on their campus, that we're going to go ahead and prince um in order for their wedding so we don't want to overwhelm them. We want to keep it simple, I'm also when you do your destination brides and you're you mentioned a skype sale session, we get into this later on, but how do you show them the images that you're taking tea is like your website and gallery. What how do you show those? Yeah, great ways to use an online gallery, but for bridal sessions, I would even recommend that you go ahead and just stay an extra day sinking zip through an edit those images fast and then go ahead and do that previous session in person. You're there already anyway, you have to turn on them them around fest anyway so they can order them so you could get the product ordered so I would suggest ng and right there in person if you are traveling out to do this session and if you have a fast editing system and found a problem one, we're a great question this one is coming from best shot, wondering how do you handle family taking photos at the bridal session with professional cameras? We have water balloons that I keep in my bag, I chuck it at that going if you have someone that's taking images and one, they're kind of cramping your style like they're getting a new shot. I'd be like, hey, mom, don't worry, I'm going to have all of these available for you. Or another thing you can do is give them something to dio like put a reflector in their hands and then they would be like, yeah, just staying here we have this someone photographer that came to one of our workshops and she said, you know how moms I mean I don't know from personal real experience where moms air like they're just getting in the way of your shoe adjusting the hair and being like kind of making the shoot worse because of their presence and their interaction and so she would give the mom reflector and be casting over there like twenty feet and then and the moms like, oh, I'm a part of the shoot I'm doing something this is awesome and but in reality she's away and not bugging you so that's what I would do I would go ahead and give them something to do to help so then you can just kind of focus on taking all right so I'm going to start talking about what I'm doing here I'm setting up there reading the rapid yeah sorry thank you, thank you, thank you. So this next shop and I'm gonna set up here um we just have this really someone you could actually help out their idea if you want to hop over here great jim so we just have this cool metallic e reflective material which looks interesting but when I look at it like this, it's pretty dull because you've got some ambien light coming in got that white thing in the background yeah, it doesn't look very good, right? But if it's lit really well and I just control letting that's on it with my lights, it can look really cool down a number of different shoots three just walk in and you have one great thing to work with, and you try to make something good out of that, so hopefully we can do that. So behind this, we actually have some metal chains that we just, you know, bought at a hardware store and it hung come upon some hooks here, and what we're going to do is try to sort of wrap this material around her a little bit and just do a simple headshots portrait that looks hopefully really cool. So I'm going to do here for lighting is I'm going to use my, um, dr bank right here I'm gonna glam related she's glamorous so we could get away with it if she wasn't glamorous, I would never tell her that, but we would put the light thirty to forty five degrees to one side of the other, probably feather and often do something different, which we can do that as well, but for this, I'm just going I'm going glamour light because I think it's gonna look really cool hopefully and the trick here with any time your glamour lighting without a boom arm the trick is getting your camera kind of between you so you can move it behind you if you need to or in front of you and this is anguish just a little too aggressively, so we're gonna just pull the angle up just a little bit cool and hopefully we'll get some really interesting light uh, coming off of that little background so one of my background lights I've got two style our exes, those air from ellen comas well and what those lights are there just, uh, no pulling down here so you can see it just a little bit better. These life is just a standard monta pod sorry, a standard model lightheaded and all they have on him are just seven degree with seven inch reflectors with forty degree grids. What that does is it just focuses the light in one place instead of having just shoot out all over if it did shoot out all over. It was still work because I'm focused in this one area, but it also helps prevent that light from coming back into my camera and creating a you know, a bad, ugly looking flavor, so I'm just gonna pop this back on here lock it down and I'm just putting some half cto gels over it warming up but I got a feeling when the light goes through all that gold color it's gonna warm it up so I put some velcro on the side of that and I'm running, putting these at forty five degree angles coming into her back and I'm guilting them down so they look more like if the sun was coming down at you look more like that kind of look members careful for that court there and I'm just pointing both of those straight and I was going quickly meet her those lights up with my handy dandy light meter and we have the camera street and then I need my, uh my sky portraiture system there should be one right? I had it somewhere else, but I might have left it over there. All right? So the awesome thing about like I mentioned about this sky portas I can control all my life once I have them set up I can just pick whichever light so you can see if I want to just turn that light on aiken flash it if I want to just turn that light on I should be able to boom just flashed that one or if I want to just flash this light I can or I can flash them all together by going toe all pretty sweet little system there so now I'm going to do is just me neither the main light and what I need to do is just obliterate the light that's already in the room so we want to eliminate that like completely so it doesn't become a factor in the shot we want just our lights to be what the dominant source so should be very easy to do to overpower those lights I'm going to get my main light up to say at eleven ish that I so one hundred and then one one hundredth of a second we're going to meet this main light and see where it's at so I might have seven one right there and now I can power up from right here do do do do do do do the only thing that's annoying is this thing powers up in one tenths of a stop, so if you want to double the power, you got a click the button ten times and maybe there's a fix to that, but I don't know what it is right there on that half eleven perfect now we're going to meet her our background lights and we're gonna make those a little more subtle so we're going to bring them maybe a stop underneath around f eight but they're also going to be coming through this so we don't exactly know how that's going to affect the light so I'm gonna meet on this sign and just see what it does I'm gonna bring up the power and get a closer to let me get it pretty close to this power setting because we don't know what it's going to do when it gets sucked through there some pretty close I might have seven point one and the main light was that eleven and every time it beeps is telling me that it's fully powered up so they're on that have ten and that ones that have seven once we're gonna power number one up just a little bit to get it to match I want these two lights to match exactly not quite come on men while it's powering up there won't give me it won't allow me to trigger it so it's just right about there is an f eight so six more clicks we should be there ok, so we're gonna test that if we need to bring up the back on lights we will so now we're gonna bring lovely model samantha and to do some modeling for us and I may have my wife sort of help me maneuver these around just so why not just a touch and then we're gonna actually throw on the nd filter so that I can bring the depth of field way way down I'm at half ten I also one hundred I'm gonna have my nd filters and I think I might add both let's go extreme so this one is a three stop in the filter it's a point nine so when I put that on I have to open up my aperture three stops to get the same exposure I would have normally gotten enough I put two in and and you don't have to do all this crazy stuff. This is for those geeks out there that want to do more of this stuff or you have a bride that likes this kind of stuff so now I gotta toe so then I put a three stop to stop in the filters they got open up five stops that's one tuesday at five three staff three point five forced a two point five one point eight now I can shoot at instead and if I shot a one point eight in this room I would see a lot of this ambient light but I'm guessing yeah it's pretty much obliterated. We're going to move this a little bit to the side. I wish this standards just a little talk. We may have somebody hold if we need to but I think that's gonna work so for this let's get rid of the flowers flowers let's do the veil over your face and there's gonna be more like a little attitude this is attitude lighting, you know I mean so the trick is we don't really know what the lighting's we're guessing what we think the lights going to do. I haven't tried this before, I haven't done this shots, I have no idea what it's gonna look like. I have an idea what I think it might look like what we're hoping I'm hoping it looks awesome so I want you to do for this is kind of like, yeah, but with your head back actually skip that way just a hair not quite that much, yeah, then head back and kind of like, yeah, that's pretty cool, actually reverse that. Can you go this way? Yeah, not quite so much his exact what you're telling me to do now that looks cool little tilt in the head and then look at it right here on me actually school yeah, that's awesome. And then what? May? This is just just in my way, a little bit of songs to keep the distance the same I can go ahead and move this light around a little bit pro photographer is wondering, does using two nd filters cause any image degradation because of the extra piece of glass on there? Totally he's aka ryan's, right, so why what was the question that was looking? We have an image on the screen bottoming baby two filters cause extra image d great nation well the image kind of get sucky looking if you put a lot of stuff on it not if it's a good quality filter so I'm using the leaf filter system these air some of the best ones you can get and they do not degrade the quality one bit as you can even see the sharpness is dead on it looks super chris and you can see the image we just took it looks pretty rad like it looks at ac you are not better and I thought so at this great wave got this great reflection from all of the bt you know reflective materials and let's take a quick shot with no flash on whatsoever and just the ambient light so we can really see the difference that's gonna be terrible let's try that again so there's the ami a light weight the first one he took was like a third of a second long because I have these two nd filters on so there's the ambient light let's do one more novel dark and tricky to focus in here let's do one like this bring your chin down a little for me perfect judy's rocking the veil here so amazing that you could make something out of completely nothing and I just love I love the way these look he's looked great and these are the pre edited versions once you see you know you notice that damon shifts, it looks one way, and then it shifts. What it's doing is it's because I'm shooting raw it's kind of a match, what program they're putting it into its light room or whatever I think it's light room it's showing you sort of the raw version, it pulls the contrast out and actually strips a little bit of the sharpness, and it figures you're going to put that back into taste. So you're looking at the pre edited version once you go in and turn it back, tio sort of what I'm seeing actually in my camera, which is the j peck version it's going to have a little more color, a little more brightness or sorry, little more contrast, a little more snap to the photo look more like what we do, and we're finally number their photos, so I just snap a few months, actually pull the bill off and doing with the flowers, we have the flowers? Yes, we'll do one more here and let's do one where you're just sort of holding the flowers kind of down here, a little bit of this action and skip that we just a hair perfect, actually switch switch legs, sieving get the a little bit of here we go, yeah, cool screen germany actually was gonna pull this back just ever so slightly so I was going to be careful. You adjust the light like this. Yeah, we should really want to re mediate, especially if that close, just for time's sake. I'm not going to do that, and we're gonna pull back here and shed a little longer image. Yeah, that's, cool and jodi, can you make the back down just a tad wider? Forming, lending? It would be really cool is actually this with the light off, just a little less, having looking this way more profile, kind of like, yeah. Also set right in a free. Yeah, I think that's. Good. Actually, they just hold this side out just a little, pull it, pull it. There you go. Here we go, media looking up at the light for me. Oh, hack to the then bring your flowers over to this hip just a little bit, and bring him down. Cool. One more smoking.

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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