Shoot: How to Photograph Ceremony Details

 

The Complete Wedding Photographer Experience

 

Lesson Info

Shoot: How to Photograph Ceremony Details

In this lesson, we are going to talk about how to photograph ceremony details, and I prepare my clients for the time that I need to ensure that they, that these types of photos are actually happening between myself and my second shooter JD. Now in a future lesson I'm going to talk to you about how precisely I ask my clients to get this time, but today I'm going to focus on the logistics. Like I mentioned, I have 15 minutes to get the photos that I need, and I'm going to go through what that list looks like so that we, you and I can be on the same page, and you guys can see how much time I need for each individual thing. So when I approach this ceremony, the first thing I'm going to do is take a photo of the wedding programs, and I do this in one or two ways. Or maybe both ways. I will see the program maybe on the chair or in the basket, and so I shoot that horizontal and vertical. Then if there are ushers who are holding the programs, what I want to do is make sure that the usher is ho...

lding it towards the camera so that I can create a frame around their body, so I get that static, and then passing it off in motion. What I want to do also is I want to get wedding signage, if there is some. Sometimes bride and groom will have a sign or a few signs that are leading up to the wedding venue, like John and Jane's wedding 3.2 miles, or perhaps, just a home made sign that says, "Wedding", or an arrow pointing to where the wedding location is, these are all very important. I also want to photograph the ceremony location. Now the ceremony location, there could be an altar, there could be a Chuppah, there could be Mandep. Whatever traditional or ceremonial elements need to be photographed in any way, shape or form, but I need to make sure that I'm doing a close-up vertical, a close-up horizontal, then I back down the center of the aisle, and I get a vertical and a horizontal of that. I'm also going to be focusing on cultural or religious details, so for instance if I'm shooting a Jewish wedding, I need to make sure that I get a picture of the Chuppah, or the Torah, or maybe the wine glass or the prayer shawls, this also goes for Bibles, or Torahs or candles, or a sans ceremony elements. These are all very important and special to the couple. I'm also gonna be focusing on floral decor. Now floral decor, depending on the ceremony, changes, but we can say with certainty is that there will be flowers going down the aisle, or up at the ceremony location. So I want to kind of set the scene by taking a horizontal shot of everything I'm seeing in front of me, then I get a vertical shot of seeing everything in front of me, with the florals as the main focus. I will step down to the center of the aisle and I will shoot the same thing a horizontal, and a vertical. Now when it comes, if there's a lot of extensive flowers going down the aisle, I will step off to the side, I will crouch down, and I will shoot the flowers in a way that has the focus on the flowers, and perhaps the ceremony location blurred out in the background. Then I flip my focal point and I will get in focus the ceremony details and get the florals blurred out in the foreground. Now what I need to do is get a full overview shot of the ceremony location. I know based on my experience, after submitting weddings and getting them published and featured, it's the thing that the editor asks for the most is a clean, uninterrupted, un-disrupted shot of the ceremony location. Now this happens by me educating my clients about how much time I need that to happen. So let's just get a hypothetical start time to a ceremony. If a ceremony starts at 5PM, what I know I need to do, is I need to get the bride tucked away from early arriving guests by 4:30. What then that empowers me to do is to scurry down to the ceremony site, and start shooting it, because early arriving guests usually get there around 25 minutes prior to the ceremony start. If I have a five minute jump start, then what I can do is ensure that the photograph that I get has not been touched by any guests yet. When I'm shooting the overview, what I'm going to do is I'm going to take a step back and I'm gonna shot it horizontal, and I'm going to shoot it vertically. Now one thing I want to point out as we get into this video, is that you will see me standing on a ladder. Now the ladder was there because I was working as part with the marketing team from the Lodge at Torrey Pines, now Lodge at Torrey Pines is located in San Diego, California. And they had commissioned me to shoot all of their new marketing materials for the year, and I was ecstatic to work with an amazing creative team. Now the florist happened to have left her ladder at the end of the aisle, and so I asked, hey, can I step on it and use it in this particular location? And she agreed, which is fantastic. Now occasionally on wedding days, this also happens, whenever I see a ladder, because I'm, you know, I'm just short, I will always find a way to shoot it from a higher angle, which is always beneficial, and for diversity of your portfolio. Then what I need to do is I need to get a half view of this ceremony, at this point in time, I will not use the ladder, because when I am shooting a half view of the ceremony, I'm walking down through the center of the aisle, shooting it really wide, but this is actually a better from a curatorial standpoint. If there are any floral decor at the end of the aisle, if there's no floral decor at the end of the aisle, it could actually make the ceremony site look a little bit weaker in that it's empty, and then you have all this stuff in the beginning. So if that is then the case, the half shot has me coming down the aisle, then the focus on the Mandep, the altar, the Chuppah, and we kind of curate a fuller sense to the photo. Now once I have all of those shots taken, my focus, along with JD's is to shoot guests. Sorry, to photograph guests. We're not shooting guests, what I want to do is making sure that there is client's diversity to the portfolio. I want my clients to see their friends and their family, and when guests arrive early to the wedding, they're looking great, their makeup is fresh, they haven't started drinking, and it's a really great opportunity to introduce ourselves to the guests as photographers, without having to say, "I'm a photographer". Simply by me holding a camera and adjusting and offering to give them a great photo, they're happy, they go on their merry way, and then the clients get photos of their favorite friends and family. Now what I want to talk about right now is how to incorporate the bride and groom into the ceremony location. Now, if a bride and groom opt to see each other for a first look, I happen to find this very advantageous. Because what I can do is I can incorporate the bride and groom into the ceremony location, without the guests being there, and the best part of this is that the flowers are fresh, the chairs are completely aligned, everything is crisp and clean. Now this happens about 45 minutes before the ceremony starts. It can't happen too much earlier than that because not all the ceremony details might be set up. So about 45 minutes before the ceremony, that's when everybody's kind of like, kind of moving away, clearing out the space, and that is the perfect time to get the bride and groom there. I shoot the bride and groom for about 15 minutes. So if we went back and we started looking and thinking about what it could possibly appear if we use that hypothetical five o'clock start time, I would have to get the clients tucked away, or the bride tucked away by 4:30, which means that I would start shooting the couple at the ceremony site at 4:15. Now in today's lesson I'm excited and really happy because when I was commissioned by the Lodge at Torrey Pines, it was about the time that we were planning to come and do this 30-day event with Creative Live. So in light of preparing us to shoot the dream wedding, I thought it would be a great opportunity to invite Creative Live to join us in the shoot, so that I can have the time and reveal the cadence in which I shoot, and show you I how I shoot as a form of preparation so that we get into the Not Dream wedding you will see, okay, Jasmine shoots with a pattern, and okay, even though she's not talking to us as much as she might have in the past, we know what she's doing because she has set us up for success. One thing I want to note: because this was a marketing campaign, this isn't a real couple, and it is not a real wedding day. Having said that, I will say that the team had told me we want particularly sunset shots of the reception details. Which kind of showed how much time I would actually shoot this on a regular wedding day. Of that gorgeous, beautiful, amazing golden light, I had about 15 minutes. What you're going to see is that the timing and the approach is about the same. One thing I also want to say is that if the creative team is around, they might have been around in the shoot, and they might be around on the wedding day, I ask them for help as I need it. You might hear me say, "Can you hold this "over here, can you move in this direction, "can someone please hold the bouquet?" I am unafraid to kind of gather a team and a tribe around me to ensure that we're all on the same page, and we all walk away as successful. In a previous lesson, I talked in detail about a conversation that I had with Rebecca Crumley, in focusing on your branding words. My branding words happen to be, one of them is editorial. So as I talked to Rebecca, one of the things that she said was to tell a consistent story. And part of telling a consistent story is connecting the dots from the beginning, middle and end. And what you see me doing here is yes, I am shooting the ceremony, and yes I am shooting the reception, and I'm shooting these two independent of each other, but the way that I'm connecting the dots is by incorporating the bride and groom into holding a cake, holding a bouquet, hanging out in the lounge furniture. Having them walk towards me and making sure that I'm shooting the couple at different times of the day, because I need the sunlight to reflect the cadence of the story. So keep that in the back of your mind as we get into the video, and I'll show you how much I do this with as many times as possible throughout this shoot. Once I get an overview shot, I want to make sure that everybody shot is horizontal and vertical, and I'm going to shoot it at the end of the aisle so I can get everything, and then I'm gonna shoot it at the middle of the aisle, so I can focus on half of the ceremony location, including the altar, Chuppah, or whatever's up in the front. Then what I wanna do is I wanna focus on the small details. If there are programs, I wanna make sure those are photographed. If there are kids passing out the programs, or friends, if there's a guest book signing, or if somebody's taking gifts. I wanna make sure that I'm getting all of those photos in advance. And you can see that today is a rather windy day, but I'm just gonna try to work with it the best I can. And the thing that I want to end the shoot with is smaller details like chairs, if there are cool chairs, if there are aisle decor, I wanna make sure that I'm getting individual shots of that as well as an overview shot. So it's kind of very straightforward, and while walking through what it's gonna look like, but the things that I'm looking for first and foremost is to get an overview shot. I'm gonna be shooting these details, the wide shots with the 24 milometer, or the 35 milometer, and all the detail photos will primarily be coming from the 15 milometer. I'll be talking through my settings, because it is very bright, but I'm gonna talk about the things that I'm looking for as we move along the shoot. So right now my settings. One thing that I'm noticing is that this white chair is reflecting light on to the back of these chairs, which is fantastic. This is like an ideal photographer's situation, but anything that would reflect light is going to be the best kind of scenario to shoot this. My settings for this are, 2.5, ISO 160, and 2,500 shutter speed. The focal point is gonna be on the monogram behind the chair, I'm gonna be shooting the photograph in two ways, I'm gonna be shooting it obviously vertical and horizontal, but two different ways in each of them. I'm gonna be shooting with the chair in the middle of the frame, and then I'm gonna be shooting the chair in the lower portion of the frame, getting more of the sky. And then I'm going to be shooting it horizontally. The focal point will be on the chair closest to me, so that the rest of the chairs blur out but create a leading line towards it. So one thing that I'm focusing on right now would be creating that horizon line behind the chairs. So I'm gonna be using the things that are in the background to actually help level the photo within the frame, because there's nothing worse that getting back frames realizing that you were shooting off-kilter. Now the decor, the aisle decor is rather simple, but I'm gonna step in and I'm gonna shoot a tiny bit of it. My settings right now are 2.5, 3,2000 shutter speed, 160 ISO, and you'll notice that the pattern for me is to keep my ISO about the same. Once I'm shooting in a given area, I don't need to change my ISO too much because the settings will kind of be the same and it's one less thing to think about. So a lot of times at a wedding, I might not have the luxury of bringing the bride and groom into this area, but I'm gonna do that today because I can, and at a few of my weddings, I would say about a third of my weddings, I'm able to bring the bride and groom to the ceremony location before guests arrive, and that always makes for really cool photographs. So what I want you to do is first and foremost, feel comfortable, and feel at liberty to do what you want to do, and then I will tell you what's working and what's not working. Right now, it's just the beginning of the shoot, so I just want you to just kind of chill, relax, once we have the bouquet, it is actually gonna feel better 'cause you'll have something to do, yeah, something to hold, something to do with your arms. Now I actually prefer when a bride will give me a variation of looks. So of course we're gonna have the traditional bridal smile, right, so they have the girl next door look, and then you also have kind of just like a more of a demure kind of look. So you can kind of have a little bit of fun. I might towards the end, and Criselle might hate me, I have you pick up just the side of you dress a little and kind of get you swishing, have a good time. The thing is with these photos is that we want people to look at them, and yes, see you, but they wanna see an idea of themselves in you too. If you're having fun on their wedding day, they wanna have fun on a wedding day. So that's the kind of thing to keep in your back of mind, but I'm a talker. I will be talking to you the whole time. If you feel stuck, just be like, "Hey Jasmine, what do I do here?" But I'm pretty sure you're gonna fall right into it. One thing that I'm taking into consideration is I'm shooting the bride within this ceremony location, which is fantastic, and it's exciting, except for the fact that she's tall, and the altar in the background has a hanging chandelier. I don't wanna shoot the bride in front of the hanging chandelier, because it's going to look like the chandelier is coming out of her head. So what I need to do is step off to the side, so that I can get the bride, the altar, and the chandelier. These are a few things that I'm thinking about. If I want the chandelier in the frame, I'm going to have the bride to sit down, and that'll give me a different effect, but still be able to get everything at the same time. So we're just waiting for a few people to kind of move, this happens on a wedding day, if this was actually a wedding day, I would send my lovely second shooter JD to go and ask them to kindly move over, just like five or 10 feet, but the good news is they just moved, and I'm gonna shoot Adrienne right now. So, first thing's first, can you just soften your knees for me? Just kind of shake them out, there you go, beautiful. I'm gonna have you do that quite often because it loosens your hips, and when you loosen your hips, you'll fall, you'll put your weight into one hip, or the other, whatever you prefer it's fine with me. Right hip, left hip, exactly, already your body's taking on a gorgeous form, so when it comes to your bouquet, I want you to actually just relax the elbows and keep it, you can have it off to the side, that's gorgeous, or you can have the head up. That's gorgeous, now when you do that, I'd like for your hands to be closer to the, yes, to the top where the bouquet and the stems meet. That's fantastic. I'm just gonna move, we might have to pin the bangs back, or maybe just like one bang back, 'cause I don't want it to compete with your face. Okay. Cool. So one thing that I'm thinking, and taking into consideration is we have these white chairs, and white sofas in front of them, that's bouncing beautiful back on to her, as if I'm paying somebody to hold a beautiful reflector. Again, I'm not standing directly in front of Adrienne, I'm gonna be scooting up just a tiny bit. Oh, this is beautiful. Good, I'm gonna be shooting this at a 2.0, because I really want the tree behind her to kind of be blurred out as much as possible. I'm at a 2.0, 3,2000, that's gorgeous. The bride right now, with her heels on, is measuring, I'm guessing somewhere in the ballpark of six feet. She's really tall, and in case you haven't noticed, I'm wearing heels today. And wearing heels I'm about 5'5. So there's gonna be a major differential between us, so the thing that I want to make sure of is that I'm not standing too close to the bride, which would cause my camera to tilt upward. Tilting upward towards the bride is not a good angle for any bride. So what I wanna do is I wanna put some distance between the two of us, and the farther I get from her, the more level that plane looks, and it looks a lot more complementary for a taller bride. Now if I wanted to, I could probably pull out a chair and stand on a chair, but at this point in time, I don't really feel it's necessary. I feel confident in the distance that I have between us. Now once Adrienne sits on one of these sofas, I'm gonna get in nice and close, and I think it's gonna be a great thing. You're gonna be a little bit smaller in the frame, so just relax. You're gonna be just kind of rotating your face from side-to-side, and I'll be talking to you throughout the rest, kind of coaching you through, but right now this is fantastic. Gorgeous. Beautiful. Beautiful. Right now I'm shooting at F2.0, 3,500 shutter speed, I'm shooting at 160 ISO. Oh, it's beautiful. Beautiful, keep your body in that angle, facing this way, now bring your, that, gorgeous. Beautiful, now relax your shoulders a tiny bit, take a deep breath, bring the bouquet down a tiny bit. Atta girl, that's it, thank you. Beautiful. Oh, I wanna make sure that I'm saving the highlights, worst case scenario, beautiful. Gorgeous. Gorgeous, that's it, lift up the chin a tiny bit? Nice. Good. What I'm going to do is I'm going to reassemble this area so that I have space to shoot the bride, but what I don't want to do is this chair is acting as a natural reflector bouncing light back on to the bride's face. Can you lay your bouquet off to the side? Bring it in closer to your hips. There you go, beautiful. Now, just kind of have your hands on, yes, beautiful. Now lay the other hand across your lap, but palm up. Yes, beautiful. I'm gonna have you switch the palm in a second, but this is where I want you to, this is where I want you to end, so right now give me your right hand, just let it hang, and then your hand on your right side, bring it over, yes. So that's where you're gonna start, so this point, this is starting point, this is ending point. I'm gonna have you do that again and again, and then whenever you want, you're gonna switch it up on me, you're gonna put your palm forward. All I'm basically trying to do is find the right angle for your body, and as you do it naturally, is when I'll tell you what's gonna work. So hang on just for one tiny second. Let me get the, yeah, okay, you're good. You're really good, so I'm ready for you in three, two, one. Bringing the palm, beautiful. Beautiful. Good. Now sell it to me a little bit more when you bring it on this side, just relax it all the way up, relax it, now bring it back into the frame, gorgeous. And then, good. Now what I want you to do is as you come over, not this way, I actually just want you to like rest it for one, two, then bring it back. Little bit more tense, gorgeous. Beautiful. Awesome. Now what I want you to, yes, atta girl, eyes here. Beautiful, chin towards me. Relax your hand downward. Beautiful, bring the bouquet in your left hand across your lap. Uhuh, but put your other hand, I don't want the bouquet, I don't want the bouquet over this hand. I want the hand, yes, beautiful. Can you look, 'cause this is JD my second shooter, can you look over at JD? Awesome. Fantastic, beautiful. Bring your eyes back here. Nice, looking out towards the cake station, or what used to be the cake station, with your chin, that's it. Right about there. Oh, eyes back out, where the cake was, beautiful. Yes, I'm gonna switch this because I can, now because I am short and she is so tall, I'm gonna shoot this at a 1.2, I'm gonna shoot down on her, these are one of those rare occasions that I'm gonna jump at that opportunity. I'm going to bring, now usually when the bride sits her dress comes up over her abdomen, which is not the best look, so what I wanna do is simply use the bouquet to cover her abdomen which would kind of be really blurred out and be shooting down at her at a 1. I want you looking down at your bouquet. And you're gonna have your right hand across your lap. Beautiful. My focal point will be on her eyelashes or mascara, it's just to get a nice photograph for the makeup artist, and specifically for the mom of the bride. For some reason, mom's love these photos. So I wanna make sure that I'm gonna make the vendors happy, I'm gonna make Mom happy. Get a just solid, kind of nice bridal portrait, looking here, eyes, chin up, chin up. Yeah, atta girl. Yes, JD's getting jealous, so you can talk a little, that's good. Good, good. So sometimes I say stupid things like JD's getting jealous, just to get a laugh out of her. Because it's hard to say, hey, laugh on command. So that's a little bit more difficult, so what I'm gonna do is simply just toss her to the second shooter, try to crack a ridiculous joke on occasion, I'm gonna shoot her at the angle that JD has suggested me to. And then we're gonna bring the groom into the frame. So right now I have the couple in the center of the aisle. And when I'm shooting under really crunched times, as I am right now, and as I am on a wedding day, I'm gonna try to get four poses in under 10 minutes. That's kind of like a lofty thing, but if two photographers are shooting, like myself and JD at this moment, that's gonna be the most ideal thing, so I'm gonna have them first profiles kind of get a whole overview shot, then I'm gonna have them snuggling nice and close for like a little romantic shot, then I'm gonna have them walk towards me, but I'm gonna sink their feet towards me, keep it nice and light and happy and airy, then I'm going to have them sit, and then hopefully do that under 10 minutes, so we'll see how it goes. So Adrienne, can I have you hold the bouquet? You're gonna have your, yes, perfect. That was great. Beautiful, and so right here is great, and if your arms get tired you can just rest them up on his shoulder if you would like. The only thing I want to avoid is getting this bouquet too close to his face because then it becomes in competition. One of the benefits of having a really tall bride and groom is that I could shoot wide open and because their faces are gonna touching, they can be in focus, but because I'm not having an eyeball directly at me, it's less imperative to shoot at a safe aperture, like a 3.5, right now I'm gonna push it and shoot it at a 2.5 because I can, and their profiles are pretty much aligned, so as long as I lock my focus on the bride, Adrienne, the entire photo will be in focus. So bring your torsos together. Nice, just relax your shoulder. Ah, there we go, boom. Let's look at each other. So Criselle, I love that feedback. Can you guys bring your foreheads just like that? You guys are gonna love the forehead thing. Trust me on this one. Good, I'm gonna step in. Get a slightly different angle. Can you, gorgeous. Now. Adrienne, can you look out towards the lodge? Relax that right shoulder? Beautiful, look out towards the lodge. I'm sorry, the hotel, I'm calling it the lodge because I'm fancy. Okay, relax that shoulder a little bit. Beautiful, that's where I want you to end up. Andrew, can you rest your forehead on her temple or wherever it lands? When I'm ready for you. So on three, two, one, she's gonna look over, you're gonna just kind of bring her in nice and close as if somebody had just called her, and you're cuddling her because you don't want her paying attention to them. So Adrienne, relax, and this is where I want you to end. So you're gonna start just in a relaxed state in three, two, one. Peel her on in, look to the hotel, Andrew lean in, lean in, atta girl, relax your shoulder, relax your shoulder, atta girl. Beautiful. Andrew, can you take one step back? Beautiful, bring your torsos in nice and close. So what I wanna do right now is I wanna bring them in close together because the sun is so strong behind them, I'm getting a lot of hot spots, but if I have the groom bring the bride in, what I can have her do is the bouquet can actually be a natural reflector, popping back right back into her face. I'm gonna shoot this at a 1.2, I'm just gonna get a nice profile shot of the bride, a nice profile shot of the groom. So, I'm gonna have you bring your bouquet, relax it here. Nice, you guys are gonna come in nice and close. Beautiful, you're gonna relax this bouquet. Nice, and bring your eyes down here. Gorgeous. Gorgeous, I'm shooting at 1.2, 2,500th of a second, 160 ISO, if you can relax that shoulder, beautiful. Eyes here at me. Beautiful, Andrew still look at the hotel, I'm gonna flip and get you in one second. Eyes at the bouquet. Take a deep breath, relax the shoulders. Beautiful, cuddling nice and close, nice and close, nice and close, beautiful. Gorgeous. Andrew, can you get a slight smile? There you go, nice. So I'm shooting this at a 1.2, 3,200 shutter speed, 160 ISO, I want you look down at her bouquet. Take it, nice. Can you just shift towards me a tiny bit? Shift, shift, yeah, there you go, perfect. So there's golf carts in the background, so I wanna be very careful. As to how I'm gonna shoot this. Okay. Good, can you bring your nose to the side of her forehead? I know, very specific (laughs). Nice, awesome, and then, let's see, Andrew, eyes here. Nice. You can lean your head, that was fantastic, that looks great. Beautiful. Okay, now what I want you to do is to shift your shoulders out in this direction. So you're gonna let her go, forgive me. Let her go. Turn your shoulders out completely. Fantastic, take one step towards me, fantastic. Now Adrienne, you're gonna come in with your chest towards his back. Yeah, and then you're gonna give me your bouquet. Thanks. Thank you. So are you gonna get an angle? Okay cool, thank you. Beautiful. So Andrew could you just take one step back? That's great, can you undo your jacket? Let me see how that looks. So maybe it'll give you. See the thing is, I want you to be comfortable, so whatever it takes for you to do that, if there's some, yeah, that looks great. I'm good either way. Okay cool, awesome. Now as you have your coat, see how it's bunched? Can you tuck your, there we go. So you wanna pull the jacket back, there you go, fantastic. Great, you're gonna rest your hand right there, beautiful. You're gonna bring your hand down a tiny bit more. And then you have the bang, can you move that bang? (chuckles) Okay, good. So the focus, you're gonna be looking at JD, Adrienne, and then, Andrew, you're going to be looking at me. So give me that left shoulder a little bit more. There you go. Nice. That's good, take whatever you need to do, Adrienne, to get, to feel comfortable. Yeah. Good, Andrew, can you look down at the floor? Take a nice deep breath, good. And then bring the eyes towards me? Good. So one thing that I want you to do too, ugh, yeah, you look fantastic. So we have bridal, so this is like a wedding shoot, but don't ever hesitate to not give me those looks like those strong masculine like editorial looks that I think exist within you. So we can veer towards traditional bridal, and then we can also get a little bit more editorial. So in this particular shot, I feel like we have this safe shot. Now I kind of want just something a little bit more soft. Edgy? Edgy, that's it. Edgy without being pissed. So that's like a fine line, right? That's hard. I know, I know! We're gonna shoot right through it, we're gonna shoot right through it, so just either look down at the floor, yes, and so Adrienne, can I get you to just step on your tippy-toes? Yeah, atta girl, you lean that body in nice and close. Relax and bring your hand down to the side, the side of the shoulder instead of back. Yes, bring it, there we go, beautiful, bring these two fingers to touch, there you go, it's like princess fingers. Cool. And then when I ask for him, that's when you're gonna just pull them in a little bit close, but you're gonna be looking at JD. I know, this is a lot of bright light, this is a lot of bright light. In three, two, one. Got it, boy. Boom. I feel great. Hang on, hang on. JD, can I have your 35? Yeah. Eyes down, Andrew, nice. Take a deep breath, relax that shoulders. Nice, and then bring it to me here in three, two, one. Nice. That's great. Eyes here again. Chin towards me. There we go. Heck yeah, okay great. So look, we're gonna start with your feet together. Nice. And the cadence, I'm gonna get the, the settings first. I'm shooting at 160 ISO. I'm shooting at 2.5, at 1,600 shutter speed. You're gonna start, I'm gonna count you down in three, two, one, left foot, three, two, one. Three, and you guys be looking at each other. You guys have just been enjoying yourself, you guys are just walking in the aisle, so however that comes. So, in three, two, one. Left, right, looking at each other. That's good, oh that's good, Andrew, I like the ha ha ha, that was fantastic. (laughs) Beautiful. So I'm choosing this particular location because in this great scenario, the coordinator asked if the bride or the groom could actually hold the cake, which I think is a fantastic idea. Anytime I can incorporate wedding details with the bride and groom, I'm all for it. Now she actually brought me the cake while the bride was standing in the center aisle, but it's so bright, it's kind of like a disaster, so what I asked to do is to move into a different location, now in this particular location, they have a beautiful white chiffon, which is acting as a diffuser within our location. Which is fantastic, I always arrive early to find what would be the natural diffusers. And anytime I can put my subject in front of it is exactly what I'll do. In that particular situation, I was shooting at 160 ISO, F2.0, and 3,200 shutter speed. I can't wait for you guys to see the photos and what transpired from this section of the shoot. So if I can have you look in either that direction, or that direction, so I'm just getting a tiny bit of your eyes, yeah, so then when you're not looking directly in this direction, it'll not be so hard on the squints of the eyes. Now can you flip your eyes in the opposite direction? Fantastic. Can you look down at the cake? Great. Now what I'm gonna do is I'm gonna pop both of you guys in for this frame. So now what I want you guys to do, and, do you guys know each other from your agency? Yeah. Okay good! I'm gonna have you guys get in a little bit close, beautiful, now looking at each other, you guys can peel away. Peel away, yeah nice. Great, perfect, and so now what I'm gonna is, I'm going to take the cake, and you are going to step out, and we're gonna get just a shot of the bride, I got it, thank you so much. Okay. Do you want me to scoot over this way? Beautiful, so we're gonna drop it down, we're gonna drop it down. You're gonna look off to the side. Trying, yes, trying to relax your shoulders a tiny bit. I know it's a workout, you're gonna eat a great dinner. Can you move out, beautiful. That's fantastic, bravo, thank you, great. Andrew, look straight here at me. Nice, can you look out towards the reception? Nice, great. And then I'm going to move a couple of things, I'm gonna put this back when the bride is here, but right now I just kind of want more of a masculine appeal. Oh, nice, great. Looking out toward the golf course. Fantastic. That's great, that's absolutely fantastic. So Jay, any chance you could drop the diffuser? Yeah, good. Adrienne, could you look out towards the hotel? Just face towards the hotel, a little bit more. Beautiful. And then Andrew can you look out towards the course? Yeah. Boom. Good, Adrienne, can I pop you in here? Beautiful. Leaning in to him, Adrienne, beautiful. Just like that, and you guys are looking at each other. Beautiful. Gorgeous. We could have our bouquet over it? Pat it down, actually let me see the belt? Oh never mind, doesn't matter, we'll put it right over. Nice. Beautiful. Looking at each other. Good. Good. You are going to be giving me a mix of different things at different times, but you just start working it, and then I will, beautiful. Good, this is so cute. Can I get your right hand on your right knee? Right, so yes, good, now out here. Nice, look out towards, come out and then look out towards the golf course. Hey, good, beautiful, wave. I know it feels stupid, yes, but wave at somebody as if they're calling you from the course. Good, with your fingers closed, with your fingers closed. Beautiful, lean out more, lean out more. Okay, and so instead of this, I wanna, hey, like I feel stupid. Wait, wait, not yet, that was super cute. I wasn't ready for you, in three, two one, leaning out and wave, cute, beautiful. Thank you, thank you, thank you. Can you rest your elbow on, yes that. Beautiful. Throw your head back and give me a nice big laugh. That's so funny, 'cause you're just like so cute just chilling here on your wedding day. Gorgeous, rest your hand down, rest the hand down. Elbow up, hand down. Elbow up, yes, beautiful. Elbow up on the knee. Elbow up on the knee. Hand down across. That's it, thank you, gorgeous. Beautiful. Hang out there for one sec. Eyes here. Good, give me a nice big ha ha ha. I know (laughs) good. Eyes out towards the golf course again. Beautiful. Awesome, so where we're gonna start now, is we're going to shoot the bouquet and the boutonniere. I have specifically focused on shooting it later in the day because nice, I get this golden light at this time of day. However, it's such a short time that I'm not really gonna capitalize on the golden light, I'm gonna be shooting this at ISO 160. I'm gonna shoot this at an F2.0. And I'm gonna be focusing on just the bouquet vertical, just the bouquet horizontal, I'm gonna be shooting it from the torso all the way down, and then I'm gonna shoot a full body, and that's gonna be exactly what we're headed towards, can you relax the bouquet a tiny bit? Actually, I always want it here, I want it square into you, but I want to see a little bit. Yes, that, gorgeous. Looking up towards the hotel. Gorgeous. Looking up towards this way. Actually, can I see, one thing to note, is I wanna make sure that the bouquet, the back side is always where the buttons are. Oh okay. So that, atta girl, we'll drop it in. Now I'm gonna start the same thing all over again to ensure that the front side is exactly what the florist wants. That's great. Beautiful. And I want you, it's gonna feel repetitive, but because I had, so I just want you looking to the side. So that's beautiful, looking off to the side this way. Nice, I'm gonna peel back. Atta girl, just take a nice deep breath, relax the shoulders. Switch the weight from hip to hip, atta girl, looking over, yep. Nice. Beautiful, drop the bouquet in your left hand. Beautiful, now touch the side of your dress with your right. Can you pick up the side of your dress? Just a little bit, yeah, nice, atta girl. Ah, beautiful. Good. Give me a side profile, and then kind of lean back, because you're clamped, atta girl, that. Beautiful. Give me a little bit more hips this way, a little bit more hips this way. Hang out, hang out, beautiful. Good. Give me a little bit of a kink in the elbow. Good, okay, now let me get Andrew's boutonniere. Can I have your hand in your pocket? Switch your shoulders a little bit more towards me, towards me, yeah. And then square them towards me now. And fasten your coat. Looking down. Yeah. Now that's amazing, thank you. So what you saw was the beginning, the middle and the end. Yes, there were moments of sheer, I have my business face on, I'm gonna get this stuff done, I don't care if there's other cameras around me, and you also heard me talk to JD a very specific way. Now just to clarify, the way I speak to my husband on a shoot or a wedding day isn't as warm and fuzzy as I speak to him at home. There's a bunch of cuddling and boo, and all that good stuff. But no, that there is a business Jasmine, and there's a wife Jasmine. And when it is business, it is all business. So on that note, and I'm not saying it's right, I should actually speak to him with love and kindness all the time, but on that note we're gonna get into homework, and of course the homework note I'm going to say, speak nicer to your second shooter. But for you, what you can add is to make a list of photos that you will need to capture as you shoot the ceremony details. You can walk in and be extraordinarily overwhelmed, but if you have a list, it'll keep you tethered to it. One thing I wanted to note is that I have created shot list based on years of me working as a wedding photographer, so if you would like to check it out, download it and view it, you can find it at JasmineStarStore.com. Now regardless if you choose to use your own list, or if you choose to use my own, or collaborate with your friends, which I think would be fantastic, is I want you to stay accountable to your list. Your list will help you create confidence, and give you assurance that you're going to deliver exactly what you say to your clients.

Class Description

Running a wedding photography business is stressful work – you are on the hook for capturing one of your client’s single most important (and expensive!) days. But if you do it right, wedding photography is also a whole lot of fun. Learn how to balance the books, get the shots, and deliver the magic in The Complete Wedding Photographer Experience with Jasmine Star.

The Complete Wedding Photographer Experience is an all-inclusive wedding photography bootcamp that gives you all the tools you need to run a wildly successful business. You’ll learn the marketing, shooting, posing, and branding skills you'll need to thrive as wedding photographer.

On the business end, Jasmine will teach you how to:

  • Create an effective business plan
  • Attract new clients
  • Establish and communicate pricing
  • Build a referral network
  • Get free marketing

Every day, for 30 days, you’ll get a 30-90 minute comprehensive lesson designed to inspire and help you build a wedding photography business that thrives.

You’ll also learn all about Jasmine’s shooting and editing techniques for wedding photography. You’ll learn how to:

  • Prompt clients to get natural-looking poses
  • Leverage natural light so everyone looks gorgeous
  • Deal with unexpected events and shoot under pressure
  • Cull, edit, and market on social after the event

Jasmine will take you on location as she shoots a real wedding, narrating her on-the-fly decision making and how she keeps clients happy throughout the day.

This comprehensive class offers powerful insight into how one of world's leading wedding photographers runs her business and gives you the tools you need to pick up your camera, follow your dreams, and develop a rewarding career in wedding photography.

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