The Knot Wedding: Bridal Prep

 

The Complete Wedding Photographer Experience

 

Lesson Info

The Knot Wedding: Bridal Prep

So today is the day. We are here at Samantha and Taylor's wedding for The Knot magazine. So it's The Knot Dream Wedding today, and we're so excited. So, so far you've joined us for many lessons to bring us up to this point. You now know how I prepare the clients for the engagement session. Now you know how I've prepared the clients for the wedding. So we're here, and what I'm about to do is go and start photographing the day with Samantha. Now to kind of set the scene and get everything prepped is that I have emailed both the coordinator and the bride in advanced to hopefully, fingers crossed, to have everything ready for me when I walk into the room. So I've asked her to have her rings here. So hopefully that is here, and I can start shooting that. I've also emailed the coordinator to ensure that we have the wedding invitations and the wedding suite ready to be styled. Now this wedding is a little bit different in that there are a lot sponsors to the wedding. So each sponsor has a des...

ignated list of photos that they want to represent their brand and their company as part of this wedding. So not only do I have to photograph the bride prep and what I normally do, I also have to balance a few other things within the mix. So you'll see how I kind of balance that, given the time. So this is what we're gonna plan on doing it. It's 8 a.m. right now at Chateau St Jean in Sonoma, California. I'm gonna be heading in to shoot the bride. Now JD will be hanging out with the guys. The guys are slated to arrive at 8:30. So up until this point, JD will just kind of be walking on the property. He may or may not be getting behind the scenes, but what he's doing now is he's putting our gear away and bringing out the gear that I need just for this moment. I will be shooting the girls. He will be shooting the guys. We have tentatively slated for him to take the guys outside to shoot them around 9:30. That's in about an hour-and-a-half. So hopefully I could sneak away from the bride, shoot a little bit of the guys, pop back in with the bride and then finish her getting ready as she gets dressed. But however, we don't know how the day will exactly unfold. We're just gonna kind of take it as it comes and enjoy the wild ride as it is. So here we're all gonna go. We're gonna walk inside. So what I'm getting right now is everything Samantha wants photographed. So she has this beautiful knot ring, and then she has a bracelet, so basically her something borrowed, her something blue. We have some shoes here. I have her wedding dress. I'm asking if she has a veil, garter. All of those things right now so that, right now, she's just enjoying the moment, so I don't want to have keep on going back to her, every single time I need something. So I'm getting everything and collecting it here. I also noticed that they have pink flasks. So I want to make sure that I incorporate that into it. And I also talked to the coordinator, and the coordinator will be arranging the invitation for me to shoot as soon as the floral decor arrives. So that's coming. I asked for the rings. The guys are coming with the rings, and they should be here at 8:30. So I made a mental note that at 8:30, I have to make sure and connect with JD to get the rings. And I'll set them up according to the invitation as well. So I'm gonna grab a few things. I've kind of walked around where I think I want to place the dress. I'm not gonna place the dress in this room, because there's a lot going on. But I want to incorporate the dress into the beautiful chateau as well. So Sam? Oh. Let me see. Let me photograph this, just in case. Oh, okay. So that later, anything that a sponsor has provided or someone with me, let me get a photo of it. Okay. And then we'll tie it all together. Yeah. Now your earrings are in right now. And we have the 3D bracelet. Now I want the earring, I want all your jewelry. Okay. 'Cause once you get into your dress-- Just take it all. (laughs) Exactly. I can do that. Now do you have anything else you want photographed, like any notes? The knot ring. Yes, I have that here. Oh, oh, I do, I really do! I have this. It was my grandma's. Fantastic. My mom's mom. Fantastic. Okay, that's my something old. Hi, how are you? I can't show you my something blue. Okay. (both laugh) That's not something for the cameras. Okay, we got that fully covered. Uh, let me see, oh! Oh my gosh, the most important thing. Great, let's leave that in the box. Okay. That's perfect. I will bring that out. I'm gonna take this. I'm putting it on my bouquet. And then I'm giving it to her. Great. Yeah. Great. So that's that. Okay. And your garter, if you're wearing one? Oh yeah. I'm so glad you think of these things. No (laughs). Oh, you know what, you may want to photograph this. Anything you think, I'll kind of... Are these your tasting glasses? No, this is something I made for all the girls. Great. Great, and then are the pink flasks something you made for them, too? Yes. Okay, good. Destiny made those for all the girls. Okay. So there's the bridesmaid. Got it. And it says matron of honor. Perfect, I'm gonna put this right in here. Okay, perfect. Perfect. There's a garter here. Oh yeah, there we go. So this is the one-- Which is the one you're keeping? This one. Okay, good. That's the one I want Which is a new thing for me. I didn't really know that you did that. Okay (laughs). Why did you get two? Okay. Okay. So then once I'm done with everything, I'm going to place everything back here. Okay. And we'll put your jewelry on once you actually have your make-up on and your dress. Okay, that's perfect. So everything will be here. Okay, good. Oh, oh, this is, let me show you. This is something me and my mom ordered. Fantastic, fantastic, I want this. I don't think it can hold the dresses. It's a little heavy for it. Really? So we put it there. Got it. I think, I don't know. We didn't try it. Yeah, I'll talk to Jeannie, and we'll kind of run things over. This is great. And if anything else pops up that you need, just let me know. Okay, thank you so much. Thank you, Sam. Thank you, thank you. Okay, so what's happening now is I got a lot of stuff all at once, and so instead of feeling overwhelmed, I'm just gonna place everything down here and then start shooting it piecemeal so that I'm organized at a later point in time. So all I'm basically doing now is just getting organized so that I have a system of everything that needs to be photographed, and then I will come back to it as I need it. So what I first want to do is I want to take a look at the dress. I want to see how heavy the dress is. Samantha had mentioned that the dress might not be able to be supported by this hanger. So hopefully it will be. And then if not, we'll have to deal with that, 'cause she had told me. I had asked whether or not she had a customized hanger, and so she did, and so I didn't need to bring a different one. We'll see how that dress hangs. So what I'm doing now is I'm unraveling the dress for the first time. Samantha had said that it might be a little too heavy for the hanger, but based on what I'm holding right now, I think that this is gonna be more than enough for the customized hanger, because if I don't used the customized hanger, my only other option would be to use the plastic hangers that the dress came on, and that's never a good look for such a gorgeous dress. Now people voted for the bride's dress, and they voted for her favorite, which is a Pnina Tornai, and it's beautiful. It just looks like it fits her gorgeously. So this is the first time that it's going to be out of the bag. So what we're gonna do is we're gonna place the dress over the bag, and JD, you can rest it. And then you can rest the bottom on it. Okay. And then we're just gonna unwrap this all. So in the beginning, when I was first starting to shoot, I would leave the stuffing in the dress, but what I realized later on, as my career matured, was that the stuffing just doesn't look good in photos. So I'm gonna take it out. And because I post only photos online, on my blog... Sorry. No, I got it. Of how I stylize dresses, most brides are completely okay with me taking it out of the box, restylizing it, and then we'll put it back on these hangers when we go back into the room. So-- Okay, we'll get that one. What I've noticed is that there's beading along the top, so I just want to be extra careful. Put it on that bench right there, and then we'll probably need-- So I'm gonna place the beading, and then I'm also going to place, if possible, the actual, we'll see how that goes. Then we have to do a test. And make sure it's zipped up entirely. Can I see the front of it, real quick, before we place it? Yeah. Okay. So there it is. So I noticed that by using the actual dress lip, this little lip, it was actually making the bodice of the dress not look what I needed. So instead, I'm just going to place the dress in the cusp of each hanger. So I'll have you do this. All right. Great. And then I'm going to place the dress over here. So I got here a little bit ago, and I said that this would be a good spot. I do understand that there's gonna be hot spots. So I'm gonna try to crop them out. See if there's anybody back there. Maybe just give them a little heads up. What I'm gonna do is there's a lock on the door. Perfect. So I'm just gonna lock the door and then make sure that, um-- Want me to help you with that? You got it? I'm good. And so people ask-- That high enough, you think? If I'm ever worried about getting the dress dirty against a door. We're laying it super lightly. It's not that the door is wet or moist or anything. So it's not really of a concern, but what I do like is that we can incorporate this really old door that Samantha was a fan of, and I'm gonna crop it in here so that I can cut out the hot spots. So can you give me a camera real quick? Let me make sure. So one thing that I'm noticing is that the back of this dress, it's a long train, and it doesn't look exactly its most complimentary. So I'm gonna shoot it top-to-bottom, and then I'm gonna crop out here, too, because sometimes photographically, it just doesn't work as nice. So what I'm doing is I'm taking the train, and I'm twisting it out as much as possible to make it as lovely as I can. So I'm kind of working under the gun right now, because the guys are coming in a short amount of time, so I want to make sure that I'm covered. I'm gonna shoot this at a 2.0. Let me get a test shot first. (camera clicks) Okay, I'm pretty close to what I wanted. I'm at 2.0, 320 for the second, 200 ISO. I'm 200, because it's slightly shaded. In order for me to get top-to-bottom, I'm gonna have to have a few hot spots around, on the ivy, and I'm gonna be okay with that. This light is really pretty. (camera clicks) So I'm fitting a frame within a frame. So I have the ivy. Then I have the door, then I have the dress. I did top-to-bottom. I'm stepping in. I'm going to be shooting this (camera clicks) just from the bottom of the dress, without the train, to the top. And I no longer I have the hot spots around it. My focal point is the center of the bodice. The hanger itself is really special to the bride, because her mom and her picked it out, and it's her new last name. So I want to make sure that I'm shooting the dress within the hanger and the hanger itself. Now what I'm looking for, too, is this area right here. This wall is pointing great light back to it. So it's gonna be balancing. This wall is kind of like a lighter color, kind of like a very light terra cotta, and that light is gonna be balancing a lot of the green we're getting. So I'm gonna get colors that are true-to-form, which is just fantastic and ideal in this situation. So I feel like I have the shot that I want. (camera clicks) I shoot most of my dress shots with the 50 millimeter. My settings have not changed, because my lighting has not changed. (camera clicks) So what I did is I got a full horizontal, a full vertical, half a vertical, detailed, hanger. I'm gonna get one horizontal, but I know that the horizontal probably won't work unless I use the rule of thirds, so that I can crop out that hot spot to the left. (camera clicks) Jessica, hop in, please. Okay, great. So that's the shot, but you got to get it. Okay, so I'm good. So now that I have this dress photographed, I feel really good. I feel really confident. If I didn't really feel like I wanted this location to be my location, I probably would take it somewhere else, but because I'm working under the gun, because the guys are coming, and because I actually really like this location, it feels true to Chateau St Jean, I'm gonna be good with it. So once I have this, I'm going to place it back in the bag, but I'm not gonna put the stuffing back into it. I'm going to replace the dress back on the original hangers. I'm going to take this hanger and put it back in the room. And I put it back on the original hanger, just in case anything happens to the dress, I won't have to be responsible for it being not on the hanger that it originally came on. Thank you. I have the veil. I think there's something else in there. Is it this strip? Oh that's-- That's extra. Yeah. So sometimes I will, um-- We'll get that stuffing back. Should we-- No, the stuffing, I'll take those. Now sometimes people ask if I do this on my own on a wedding day. Today, I have Tammy and JD just due to the nature of the wedding. And the answer is yes, I do this on my own. I also have more time on a normal wedding day. Today, they just kind of threw a lot of stuff at us last minute, that we'll probably talk about at a later point in time, but right now, JD and Tammy are just really filling in the gaps. So even though I have less time, I've invited the two of them just to help me in this particular timeline. That's great. It's super helpful, but normally, I do this on my own. Great. So I don't really feel the need to zip it up again, but I want to make sure that the dress is back in the original bag, laying flat, because you don't want to pull out the dress and have the bottom be any wrinkled. So there we are. So JD, these are going to back into the area where the girls are, but we're gonna be placing it right outside of the door, and Samantha said that we had free reign to go in and out of her room. So that's what we're gonna do. So now what I'm gonna do is I'm going to take a few of the details that I think I'll work. I'll be using the veil possibly as a background. But I just want to get all these details photographed first. (guests chattering) So I'm gonna choose to go on a different side of the building. On this back side, where we were shooting the dress, it's really, really, really green and yellow. So because of that, I was able to compensate with a natural reflector as we shot the dress, but I want to go on this side of the house, because I feel like I can get a little bit more true-to-form color. So I'm going to step outside. So we decided to shoot on this side of the building, because on the other side of the building, it was green, like I had just mentioned indoors. But what I want the cameras to make sure and get is I will be shooting in shade, which is going to be fantastic, but I have this building right behind us that's going to be kind of color-balancing naturally what's going on. Now I am going to be shooting on a table that just happened to be outside. This is how it works on a wedding day all the time. And what I'm hoping to do is to use some of the foliage in the background as part of the story to continue the narrative. So we talked about, in earlier lessons, about shooting the wedding details in a way that tells a story from beginning to end. Well, me shooting details around a vineyard, me shooting grape leaves in the background, will help continue the narrative. So I did notice, too, that this little, cool table actually looks better than this table. So what I'm going to do is I'm going to go inside, and I'm going to get a scrim, or a diffuser. I'm going to be right back. Let me go and grab that. What's going on right now is I ran out, and I got a diffuser, or a scrim. Now occasionally I will use these in bright situations. It's about 8:30 in the morning, and the sun is shining really bright, and now so, what I want to do is create nice, effervescent light. What's going on behind-the-scenes is the coordinator is setting up the wedding invitations for me to shoot. I had emailed her in advance. I knew that this is what was going to happen. She told me that she would set it up. So we have it built into the timeline. While she's getting that set up, the bride and her bridesmaids are in the room next door, and I'm not shooting them at this time. There's a reason why I'm not shooting them at this time. It's because their make-up isn't done. Most girls don't really want photos of them without their make-up done. So if they don't have their make-up done, I don't ever feel the necessity for me to be shooting it at that time. I move furniture quite often on a wedding day. It's completely normal for me to do this. I'm quite often shooting these photos on my own. If I was shooting these photos on my own without the assistance of Tammy today, I would simply get this table. I would move it this way. I would put the scrim here, and I would shoot on my own. But because I have Tammy, and because we are working with a condensed timeline, I'm very spoiled. So I'm going to place Tammy here. And I'm going to be placing her exactly at this point so that the shade that she is creating will allow me to shoot the grape leaves. And the reason why I chose this table, and not this table, is this table looks too perfect. It looks too much like the linens are just too wedding. So what I want to do is I want to make sure that I'm gonna get stuff that's organic to the environment as much as possible. So the back of the shoes are the moneymakers. So this is how I'm gonna shoot the shoe, like without a shadow of a doubt. Now what I'm gonna do is I'm gonna position the shoes not in between the gaps. I want to make sure that I'm positioning the shoes so that the background looks full and lush to the best of my ability. It's just by luck that we end up with this, like, cuter table that actually is gonna make for a nice, environmental photo. Cool. I didn't give myself enough space. Cool. Now one thing I want to note is that, like, Tammy, can you put this down for a second. This photo is really pretty. If I was, like, an artistic photographer, I would be working on these shadows. I would be making this really dramatic. But I'm a lifestyle photographer. I want to make sure that this is editorial-worthy, something that a magazine would go through, and a magazine has a tendency to kind of publish photos that are just beautifully lit and soft. Tammy, can you raise that up a bit? Great. I'm gonna get a test shot. (camera clicks) That's way too... So my first test shot will be... (camera clicks) Great, f/2.0, one-thousandth of a second, 200 ISO. (camera clicks) My focal point is on the rhinestones behind the shoe. I'm using the back of the table as my horizon line so that I'm not capturing photos that are too crooked. (camera clicks) The background is really out of focus. The focus is gonna be on the shoe, which should be vertical. Now I'm gonna shoot it horizontal. (camera clicks) So now that I have the safe shot, a shot that I absolutely am okay with, and I know, and I love, and I adore, and I'm okay, I'm gonna try to do one more so that the bride has options at a later point in time. One thing that I want to do, because we spoke about this in a previous lesson is Rebecca Crumley, the photo editor of The Knot, reminded us to pay attention to details. Well, the detail, in this case, is tying the shoe. The bride had tied the shoe in a way that's just kind of left it open. And I tied the shoe so that it left it closed. Okay, cool, so I just made the editorial decision. I could've had them like this, but I just feel like it looks like a silver shoe, and it doesn't really highlight the Badgley Mischka, kind of, signature studs. I can have them off to the side, but it looked like it just didn't work right. So now what I'm gonna do is I'm simply going to place them back-to-back. That way, we can still get the shoe. We can still get the rhinestones. And it'll feel completely organic to the bride and the scene. (camera clicks) Okay, cool. I'm gonna back this up a bit. (table rattles) (camera clicks) The focal point will be on the rhinestone of the right shoe. It's a personal preference. It could be on the focal point of the rhinestones on the left shoe. Shot it vertical, now I'll shoot it horizontal. Now here's the thing that I have to take into consideration, in this situation, is that this table curves, and if I shot it horizontal, I would have a curve on the side and then a flat on the side, on this side. So what I need to do is I just need to shift the shoes so that when I shoot it horizontal, it's gonna be flat and flat. Although, I will have a little pocket back here, but I can fix that later in post, or I can just own it for what it is. The only time I would fix that in post would be if the editor actually wanted this photo for a print, or if the bride wanted it in her album. (camera clicks) Great. Okay, I'm done with the shoes. I really like this background, so I'm going to keep it. So I can keep it continuous, and I tell a continuous story. What I'm gonna do is the veil is very beautiful, but it's also a very traditional veil. I don't need to shoot it. If it had a lot of details, if it was customized, if it was customized in a unique way, what I'm gonna do is I'm gonna incorporate the veil as part of the details without just me shooting the veil in and of, by itself. It's a personal preference. What I want to do is I want to make sure and incorporate as many details as possible into one photo. This works well for print magazines, so the editor can have one photo that shows everything all at once. And then I'll kind of take it out piecemeal and shoot what I think is going to be special to the bride. So I just want to clarify a point that I had just made. It was I want to position a photo, curate a photo, with as many details in the frame at once so that the editor will then have the option to use that photo, instead of using four different photos. So I'm gonna shoot it both ways. I'm gonna be shooting all of the details in one frame, and then I will be shooting all of the details individually, according to what I think is very special to her. Not every single detail will be photographed by itself, but stuff that I think would be of high sentimental value will absolutely be photographed on its own, and on that note, I think it's gonna be really important to note that this locket belongs to Samantha, but she just had it made today for the wedding. So in it is a photo of her and her mom. Now her mom is battling cancer. And she was supposed to be at the wedding. And just a few days before they came up, they had to admit her mom back in the hospital. So it's a bittersweet time for Samantha right now. So I'm gonna be adding this into the frame. And then I'll be photographing it, photographing it (laughs)? I'll be shooting it on its own in a bit. So now what I realize is I've created a kind of a surface area, but I'm still too short. I can't get everything I want in the frame. So I'm gonna tuck the veil in, and what I'm gonna do is I'm gonna pull a chair from nearby, and I'm gonna stand on the chair. So in my mind, I'm already thinking I want to be shooting this with the 50 millimeter, and then I'll be shooting it with macro. So there's the macro, on deck. Cool. I think I just ripped dress (laughs), okay. So as I'm looking through my frame, I could see my toes in the bottom, so I need to make sure that I'm cropping them out. (camera clicks) I'm gonna be shooting this at a 2. at one-thousandth of a second (camera clicks) and at 200 ISO. I'm gonna drop my ISO to 160. This is where I want it. My focal point will be on the inscription of the locket, which says, "Mom." (camera clicks) I shoot it vertical. I shoot it horizontal. (camera clicks) Now as a side note, there are gonna be some pieces of jewelry that are a lot more sentimental to the bride. There's a lot of sponsors for the event, so I'm not gonna be shooting the jewelry that she has to wear by way of sponsorship. I'll be shooting the jewelry, so for instance, this bracelet was done by way of a 3D printer. And so the 3D printer is a sponsor for this event, but I don't know if she's necessarily connected to it. The thing I'm gonna be shooting a lot of would be this bracelet, which is her something borrowed, her necklace of her mom, the veil and her earrings. Her earrings were purchased for her from Taylor. They're not sponsored. They were bought by her future husband, and she loves them. So now that I know that these are the (coughs) sentimental things, these are the things I'm gonna want to shoot. As far as styling goes, I actually just look a lot at how J.Crew styles their things. I would never say that I'm particularly amazing at styling, but I do know that I can look at something and see if it's balanced, and in this particular situation, I was shooting her earrings and the locket, and it looked better than adding the bracelet. So I'm gonna shoot this on its own first, and then I'm gonna add the bracelet. I'm at 2.8, eight-hundredths of a second, 160 ISO. I'm gonna get a test shot. My focal point will be on the inscription of the locket. (camera clicks) And that's where I want it. (camera clicks) I sometimes hold my breath while I shoot (camera clicks) to ensure that it's in focus. I shoot it horizontal. I shoot it vertical. And when I shoot horizontal, I want to make sure that I'm using the rule of thirds, 'cause it just makes for a little bit more of a aesthetically pleasing photo. Now I'm gonna add the bracelet, and then we'll be done. There we go. I'll shoot this perfectly right down the middle, since I have (camera clicks) three components, the bracelet, the necklace and (camera clicks) the earrings. (camera clicks) Great. Cool. The only thing left is her grandmother's tissue. So if I'm shooting her grandmother's tissue, I want to include her Mom locket in that. I'm gonna keep the veil in the background, just to keep it continuous. That's fine. I'm sorry. I keep getting in your way. So what I just did is I used the veil as the bottom base. I used the tissue folded in a V, not the tissue, excuse me, the handkerchief folded in a V. And then I planned on placing the locket at the apex of it. I'll shoot it horizontal. I'll shoot it vertical. And then we'll be good. And that will be all the detail shot, and we've been shooting in totality for about 10 minutes. You asked for a time check, Jasmine. You're at 8:45. Thank you. So right now, the time is 8:45. The guys should be here any minute if they're not here already. Jeannie will have them get dressed as soon as they arrive. I'm gonna go in. I'm gonna do a quick swoop of what's going on in regards to their preparation. That's gonna be important for me. I want to make sure that I get, her hair's already done. I want to make sure that I get kind of a beginning shot, a setup shot of her getting her make-up done. And then from there, I'm gonna shoot her details for her bridesmaids, which was the flask and the cup. And I don't have to stylize those gifts very much, because they're silly gifts. They're just gonna be true to the environment that they're in. I'm gonna be shooting the invitation as soon as it's ready, which I think it is any minute. I'm gonna make sure that all of the details that I have shot go back exactly how I found them. Thank you, Tammy, yeah. So I'm gonna move over here. Oh great, go ahead. You get your shot. No, Matt, you do it. You do it, Matt. So I'm gonna take just a second to talk about working with a videographer. The shot that I need is the exact same shot that the videographer needs. So instead of working, and me trying to take priority, Matt needs the shot, so the wonderful coordinator Jeannie is actually holding the diffuser for him that I was just using, and so he had said, "Oh Jasmine." He had deferred to me. He said, "Go ahead, get the shot." But we both need the same shot. I've been working, and I've already been in a flow. He should get priority for this, and as soon as he's done for that, then I hop in. That's what creating synergy within your teammates and also having a wonderful coordinator who's willing to hold a diffuser as you need it. (Jeannie laughs) So let's talk about the lenses we used so far. I've used the 50 millimeter, 1.2. I've used the macro, 100 millimeter IS. What I'm gonna shoot now for the invitations are the 50 millimeter, and we use the 35 millimeter. We use the 35 millimeter to get that wide shot. Now I've been really spoiled today. I have a coordinator who's actually styled this for me. Nine times out of 10, I'm styling my own details for this type of setup, but Jeannie is really on point. She kind of stays ahead of the game, sets everything up the way that I need it. So what we're gonna do, you don't need to hold this. No, I know. I'm can have Tammy, I'm gonna have my assistant do it. Tammy's here, she's gonna do it. Oh my gosh, and, okay, so this is why I'm spoiled. So my coordinator already knows that I need, thank you, Jeannie, thank you. Take this here. I just need this tool parallel to that. Okay, so tell us, right now, tell us-- That's the only thing. So tell us right now what you're looking for. I would say it's probably just this line needs to match that line, and then just make sure everything is straight. So what are some of the common mistakes that photographers make when they set up an invitation shot? I think sometimes it's just not keeping the lines straight, and then you have to spend a lot of time Photoshopping in the end to try to keep everything straight. Exactly. And it looks worse. So it's easier just to make it perfect now. And then sometimes what we see in the eye is a little different in the lens. Yeah. As you know, it takes a couple of test shots, look at it close up, and then if we need to readjust, we'll readjust. Exactly, thank you for saying it. And of course, you're gonna have to crop my tools. Yes, yes, and so this area will be cropped out. So my frame will be between here and here, which is why I'm bringing both lenses, the 50 and the 35. I'll be using the 50 shooting the close-up details and the 35 to shoot it mostly overall. Thank you, Jeannie. And you'll do squares? Yes, and Jeannie is an avid Instagram user. And so she loves these detail shots that can fit in her Instagram feed. So I'm shooting it most probably, all the time, with enough room around the edges for cropping. She's amazing. I love her. And just the fact that we were able to work on this wedding together just is so stinking amazing, the fact that we're both from Southern California is fantastic, the fact that I get to work with a friend, the fact that I'm ruining this table. Now just be careful for this crop. (Jeannie laughs) You want me to hold the chair? No, I'm good, I'm good. I just need to get the chair close, and I just don't want to show anything to the camera, because that's... Okay, I'm gonna shoot this with the 35. Sometimes if I can shoot on the ground, that would be great, because then I would be able to use the 50, 'cause I have more distance between my frame and the floor, but in this case, I'm gonna have to shoot it with the 35. I'm gonna shoot this at a 3.5. I'm gonna shoot it at an ISO 200. It's a personal preference. I know it is bright, but underneath the scrim, and we move to really bright light to kind of broken-up light. I'm gonna make sure that this is cropped out. Cool. Do you ever bring details to style things with on a wedding day? Great. So I don't really bring details for me to style an invitation on the wedding day. Although, I think that is absolutely a fantastic idea. I just, because there are so many details that float around the day, I want to make sure that the details that I'm using to stylize the invitation as a personal preference belong to the wedding, belong to the couple, but I'm not opposed (camera clicks) to a photographer bringing what he or she needs. So I keep on picking up a side of this over here that I need to make sure that I'm cropping out. I'm at 3.5, eight-hundredth of a second. My focal point is on the bride's name (camera clicks) of the main invitation. (camera clicks) What you hear in the background, this buzzing sound, is a drone. There will be a drone at today's wedding. (drone buzzes) (camera clicks) That's me getting some overhead video shots. So I think that it used to be this really unique and original thing, and it very much is, but so many more videographers in Southern California are using drones, and so it's just really important to learn how to work with the team and understand what they need from you if anything at all. (camera clicks) So I've shot it from three varying lengths, one with a lot of room around to crop for Instagram, a shot that I think an editor would appreciate, and now I'm gonna get shooting really tight so that I can crop out everything and really just have a main focus on the invitation itself. (camera clicks) So we're gonna put the bar here. One will be for the winery. I'm gonna switch my lens. And then do you have menus? We do have menus. You can. Great, so I shot a lot of horizontal. I will now shoot a lot of vertical, 'cause I'm gonna be doing individual pieces. I switched my lens, because the 35, just as a personal preference, is a little too wide for me when I shoot individual pieces of the invitations. And just to be honest, the 50 millimeter is like my favorite lens. It's just something that I appreciate, I love. So now that I have the shot that I want, now that I know the videographer has the shot that he wants, I'm gonna reframe a couple things, because this is the entire suite, and I think that this what the paper designer would want. But I want to make sure that I can get a shot that later on, I can use as a diptych. A diptych is two photos next to each other. And sometimes adding too many moving pieces makes it a distraction. So again, this is just a persona preference. I know that the coordinator styled it in her way that I absolutely love and appreciate. I'm going to get this fern, and I'm going to cut off, way to go, John. What I'm gonna do is I cut off a piece of the fern, because it was acting as a distraction. I'll use this bit of the card to cover the end of it. So can I get a time check? 8:51. 8:51, great. So what I want to make sure, just based on Jeannie's recommendation, is making sure that everything's lined up in a way that makes sense. So if you see in this invitation, maybe we can use this as our baseline. So we'll use these two lips of the leaves as our baseline, and then we string from there as close as possible. So here's something I just realized. The bride got these rings for her bridesmaids, and I put it on my hands not to forget. And what resulted is me not shooting this ring. So what I need to do is I need to shoot this ring. And I'm gonna shoot this ring by itself with the macro, and I'll be okay with that. It was just a reminder not to do that in the future. (camera clicks) I will have to say it once we (mumbles). Great, so I got a shot of all three pieces. So what I'm basically doing is just I'm parsing it down. I'm parsing it down. So I started with the full invitation suite. I now have everything set up the way that I want it. I'm gonna bring it in a little tighter. So now what I'm doing is I'm making sure that the editors have options, that I have options, that the paper-maker has options and that the coordinator has options. In totality, this will take me about 10 minutes, maybe not even that. (camera clicks) My settings haven't changed, because my lighting hasn't changed. (camera clicks) So what I'm gonna do is, because I forgot this ring, I'm gonna now see if I can incorporate it in a very unique way to kind of like make up for my mistake. So what I'm gonna do is I'm gonna place this knot ring on top of her invitation and see if I can incorporate the flowers, the invitation. We'll have the scrim up and let me go and grab my macro in a sec. Okay, so I'm gonna shoot this down. I'm gonna shoot this at a 2.8. (camera clicks) So a lot of times, people ask how I meter for something, and I'm 100% looking behind my camera, 100% of the time. I notice that by simply looking at the back of my camera, the exposure was right, but dang it, the invitation was crooked. The plate on it. Yeah, I think that, so this is another thought, too. I think that the photos-- (camera clicks) So I'm shooting this with the macro, because this tiny, little detail of the knot, so the bride got the silver rings for all of her bridesmaids that are in the form of a knot, because she's tying the knot and also The Knot wedding. (camera clicks) So I needed to make sure I got the photo that we we're proud of, and we're good. So that concludes all the details for this portion of the day. It took us about, I would say, 30 minutes in totality. I'm gonna hop back in. I'm gonna check with the bride. She's probably in her make-up chair, right about now. So I want to get details of that. I'm gonna leave this here for the coordinator, and then I will let her know that it's here. I'll hop back in with the bride, and then we'll take things from there. So one thing that I noticed that the coordinator also put out were the boutonnieres, which is fantastic, because it's going to be a very warm day. So I want to shoot these boutonnieres by themselves in the position that she had placed them. Now I had made the decision to shoot them in this case on the table, 'cause when I placed it on the gravel floor, it blended in too much, and when I placed it on top of the grass, it made everything too green. So it's just gonna be a decision that I'm making on the fly. I'm gonna use the 50. I'm gonna shoot this at a 2. at 12-50th of a second, 200 ISO. And I'm gonna use a 50 just to shoot small, individual pieces within. I'm gonna change this to 2,000th of a second, 'cause it was a little too bright. I like to shoot a lot of my details around that 2.0 range. I just like the look that it gives off. (camera clicks) So I actually like, this is the shot that I know, that I think I will use, and the editors might use, 'cause it has the frame within a frame, but I'm gonna shoot this with a 35, because if the coordinator wants to use it, if anybody, The Knot, wants to use it on Instagram, I need to make sure that I can get a photo that would crop perfectly in a square. (camera clicks) Great, the settings don't have to change. (camera clicks) I don't think that that photo's all that great. But the fact is they have it as an option. But I'm sure that the smaller cropped one work a lot better for what they want. Now we're hopping back inside. So I know that they're gonna shoot this right now, but I'm just gonna be sheisty and try to hop right in and get the shot. (camera clicks) I'm gonna be shooting this at a 640 ISO, one-60th of a second, 2.0. (camera clicks) You have to just get the best shot you possibly can. Oh this is it. I have the glasses of wine. I have the Chateau St Jean bottle. I'm gonna turn this out, because they're a major sponsor. And I also have the pink flasks. And I'm gonna be cropping out all the junk that's in the background, which are just light and a lot of other goodness. I'm gonna shoot the bottle by itself. I'm gonna shoot the flasks by themselves. (camera clicks) (guests chattering) And I have that shot, and I'm done. So a couple of things that I'm thinking about right now is I need to shoot the bridesmaids dresses in a really pretty area. I'm having her take off her jewelry, because I didn't get a photo of her putting it on, and I actually want her hair and make-up on as she's doing that. They're gonna be starting some videography and filming for The Knot, so there's a lot of moving pieces. And then also in the back of my mind, I'm thinking about getting the wedding rings. So I need to make sure I can get those wedding rings. And I also need to make a mental note of where I put the invitation, because I want to shoot the rings on the invitation as well as them by themselves. So what just happened now is that it's an absolute madhouse in the bridal suite. So let's bring this down to what it would mean for a regular wedding day. This is a regular wedding day. There's always way too many people in way too small of a room. So in this situation, the bride has not had her make-up done. I feel no concern at this point in time. They want to set up their shots for the live feed for The Knot. Go ahead, awesome, do it. She doesn't have make-up, and I think that for video, it would work, especially live video, but in regards to me shooting photographs, I feel no pressure. I'm gonna take a step back. I'm gonna take a deep breath. I'm going to shoot just the things that I want to shoot. And during this time, I'll be shooting her rings. I will be shooting bridesmaids dresses. Maybe I'll be shooting that out here. And I'll just kind of be taking a breather, 'cause he asked for 10 minutes. So before they start shooting that in there, I'm gonna place her wedding ring on my finger, because I'm really nervous, and I'm gonna go and grab a few bridesmaids dresses, so I'll be right back. There's a sash on one of them. I'm gonna take the sash out, but can you note that it belongs to this dress. The names should be on the back. So this is Crystal. This is the one that doesn't have a name. Great, then that's how we're gonna denote it, and actually, it's a different color green. So we'll pull that out. Oh did you want one staying taller? No, no, no, I'm totally okay with it. So part of the reason why I want to shoot these dresses, right now, the way that they are, is because these dresses were donated by Jenny Yoo, and they were voted for the audience, and I'm gonna get a lot of good photos of the girls in the dresses, but let's just get one stationary, just in case. I notice that one dress is a different color, so I'm going to place that one, I'm gonna place this dress higher, because there's a gap in the bush. And I'm okay with them being off-kilter a little. And then there's this little, tiny twig that's sticking out from behind. So I need to just tuck it behind a dress so that it doesn't become a major distraction later on. (gentle music) Okay, let's shoot this. We're gonna shoot this at a 2.5, ISO 200. I'm gonna use the bushes in front of them as part of the frame in the first shot. I'm at three-20th of a second, 2.5, 200 ISO, and I'm where I want to be. Can you tszuj the front part of the right dress? I know it's a little top heavy. Yeah, just pop it out. Yeah, yeah, yeah, thanks, love, that's it. Thank you, oh, that's great, thank you. My focal point, I'm using the 50 millimeter. You will see me use the 50 meter a lot. My focal point is on the dress in the center, the center left. We shoot that horizontal. I'm gonna shoot it vertical. Now, if I shoot it vertical, and the dresses are right dab smack in the center, which is what I'm gonna shoot now, it looks a little off to me in my pane, so I'm gonna use a little, slightly rule of thirds, but then I'm gonna get some haze. So I'm gonna use my ghetto-fabulous lens head. My focal point will be on the darkest green dress, and I'm gonna use that slightly in the center. (camera clicks) There it is. I can crop out the haze with my hand. Good, now I have that shot. I'm gonna shoot this vertical again a lot tighter. If I crop out some of the dresses on the end, it doesn't matter to me so much. I just want to make sure that they get the shot that they want in variations that they want. I'm gonna pop right in. (camera clicks) Great, I'm good. Let's see, I'm gonna take some dresses in. I'm gonna check to see if they're filming yet. So what just happened right now is The Knot asked me to step away from shooting, because they don't want me to shoot right now, and that's okay. So what I'm gonna do is I'm gonna leverage an opportunity to shoot the vendors doing what they do. (woman laughs) Now we have the force. We have the coordinators. And they look so beautiful. Now what I'm gonna do is I'm gonna choose great light. So can I have you ladies right here. Tammy, can I have you move that barrel that says Bride on it, please? I'm gonna take you guys right over here. So Jeannie, what are you envisioning for this, tell me. Do you want it square crop? Like, what do you want? Yeah, exactly, square crop. Okay, good, let's see. So ladies, I'm gonna, actually, I'm gonna take you guys right about here where there's some beautiful, beautiful light. I'm gonna take you right, come out towards me. Come out towards me, come out towards me, come out towards me. Oh and we're good. So ladies, you're gonna be on this side. I'm gonna pull these boxes out. Okay. We're really close. Okay. We're gonna be all together anyway. So the reason why I'm pulling this is I just want light behind them. I'm gonna get clean tones. Ladies, turn in towards the center. Come in, bring your bodies in close, close, close, close, close. And then Jeannie, give me the little pure barre leg. Yeah, boom, there we go. (women laugh) We're so short in our flats right now. Oh this is so stinkin' beautiful. Hang out, ladies. Good, we're gonna go for the-- (women laugh) Yeah, thanks, guys. See, good, now I got that beautiful laugh. Lean in, ladies, lean in, lean in. Hang out. (camera clicks) Hang out one more second, last frame. (camera clicks) Beautiful, thank you. Thank you! Oh actually, come in, come in, come in. Hold the bouquets, oh not bouquets, but... (Jeannie laughs) Looking at each other. (Jeannie laughs) See Jeannie, you got this, good. That was beautiful, thank you, guys. That was great, thank you. Thanks! That was great. That was great. Okay, cool, so what we're gonna do is we're gonna go shoot the wedding rings right about now. So right now, I'm setting up the rings. I will be having, I will be having a scrim, or a diffuser, and I'm purposely choosing, as opposed to using this silver background, what I want, just because it's getting really hot and really bright is I'm actually gonna be shooting it on this linen table, because this will naturally illuminate, reflect light in a way that I prefer. Now I'm trying to stylize the rings. This takes probably just a few tries, a few seconds. Some photographers will bring putty to a wedding day, but bam, there you go. So we have it set up. Make sure it's, now I'm gonna need that chair again. So my focus will be, I'm gonna shoot this with the macro. I'm gonna shoot this horizontal and vertical, but I'm gonna really try, to the best of my ability, crop it just within this, so that this is in the entire background. So I'm gonna shoot this at a 2.8. I'm at 200 ISO. My focal point will be on the, I'm hoping this guy does not put anything on the table. (camera clicks) Okay. I'm at 16-hundredth of a second, 200 ISO. Oh my God. I want to meet George. 2.8. He's gonna be able to, what do you call that? Yeah, so the frame is the invitation and the ring. I'm gonna try my best to align it as perfect as possible. (camera clicks) Great, now I'm gonna get in a little bit tighter for a vertical so that I don't have the white linen in the background. (camera clicks) That's gonna sound pretty good, dude. You guys want to come back here? Oh I don't know. Where do you want the umbrellas? (camera clicks) Go across that front thing. Uh-huh. There's a little (mumbles). Okay. (camera clicks) So my focal point is gonna be on the diamond itself. I'm doing a vertical, I'm doing a vertical, tight vertical, wide horizontal. And then horizontal at a slight angle. What (speech drowned out by chair rattling)? What time is it right now? 9:23. 9:30, if possible. (camera clicks) I have to drop just a bit, since I didn't have so much light above. I have to compensate about a 1,000th of a second. We play at 12:25, I think, 12:25 or 35 or something like that. (camera clicks) By any chance? Great, so I feel good with this. Let me switch. So I think that this might potentially be cheesy, it might. So if it's cheesy it won't make the edit, but I just want to try it. I like to have a couple options for rings. So, I mean, this could potentially be really cheesy. I'm not the photographer who places rings in flowers. I'm just not, but in this case, because I don't really feel like I have the time, and I don't really feel like I'm all that particularly not able with what I have, I'm just gonna try to do the best I can. Right now, I just need to shoot all three rings in a way that's quasi-horizontal, but when you're placing it on top of a flower, it doesn't always work out that way. So I'm just gonna fight for this one, not exactly what I want. So can I have you hold that white background behind. They're coming good. No problem. It looks awesome. Actually, just come up right here. Let me see. So I'm just using this. Yeah, I mean, it works (mumbles) before, but not-- Hang on a second. Let me see what I'm gonna do here first. I'm just using that scrim in the background to cover any sort of green light from behind. And let me get the focal point where I want it, which is on (camera clicks) the diamond. I didn't get enough internet to download the program. Wow, this will definitely not be making any sort of like blog post or slideshow, but I think that the bride would appreciate it. I'm okay with it. Just hit the button on there. But usually we can't see them. We just need the program and the file in it. Sure. Perfect, okay, so I'll go set that up. Yeah, give us USB. Okay, I'll grab the Windows as well. I'm gonna get this up. Let me use this plug right here. I'm guessing it's out there. Yup. (camera clicks) Feel free to walk past, please, please. Thank you so much. (camera clicks) Great, so I got a vertical. I got a horizontal. And later on, in post, we'll see how that works. Thanks, guys. Okay, so it seems like The Knot is done filming inside. So my goal is to place the ring back on my finger. I will return it immediately to Samantha. I'm going to get these rings. And I'm gonna give them immediately back to the coordinator. I hate being responsible for this kind of stuff. So I will meet you guys back in the room with the bride as she prepares with her bridesmaids. So what's going on with The Knot right now is that they are filming the bride, and they don't want any other people shooting that right now, so I just have to take a deep breath, and I have to say it is what it is. Instead of just waiting for the bride to be ready, I'm gonna come in and check in with JD, see how the guys are doing. Sometimes, they need a little bit of tough love. I'm Puerto Rican, and my dad was a Marine. So I go in there, lay down the law, get all the guys outside and hopefully start shooting that process. So we'll see how fast we can get this done and how productive we can be in the process. So because I'm a female, I just like to, kind of like, announce before I walk in. Hey, guys! Hey, guys, oh, so there's people dressing. Are we cool? Okay. Oh you're there, too. Okay, cool, awesome, okay (laughs). Fantastic. Oh wow, guys, hi. Cool, so. Hey, you! Hey, looking good. How are you? Good, good, good to see you. Good to see you, fantastic. Okay, guys, so are we, like (snaps), you'll be like a couple of minutes out, you think? Yeah, I think we're, like, maybe five minutes out. Cool. Cool, cool, cool. I'm shooting with a 50 millimeter. I'm at 1.2, one-60th of a second, 400 ISO. JD's at one angle, and I'm at the other. This little blip in the day has actually been great, because now Taylor gets two angles of him getting ready. Get in there, bro. (Jasmine laughs) (camera clicks) So, yeah, so the guys are a little bit backlit which is making it difficult, but I'm gonna try to crop out as much of the (camera clicks) window in the background as possible. We're getting a little glare. (men chattering) I'm gonna switch. No, I'm not liking that angle. I'll leave that angle to JD, 'cause we'll have to mix the Tungsten lighting and the window lighting. So I'm just gonna stay here and do the best I can. (camera clicks) My focal point is on his eye. It's a pretty good length, pretty spot on. I'm gonna take this back. Were you threading this side, on the right? Hey, Jessie, do you mind adjusting his tie a little bit? I think I'm gonna do his collar. So what happened right now is JD met each guy, and now he's using their names. He said, "Hey, Jessie, can you help Taylor with his tie?" So that's actually a great way to personalize the experience and incorporate guys naturally into the frame. A lot of times it's really long if you do, like, a Half Windsor. So I'm getting just a lot of ambient shots. JD is gonna get the actual framing shots of the guys in the background at a slightly different angle. (camera clicks) Samantha, do you need anything? (men chattering) Whoever has their suits on already, let's start pinning the ears. So let's start with you guys. So JD, in this situation, would still be the lead. When he was working with the guys, if I'm ever in the opportunity to work with the guys, then that's absolutely what I do. So he's still watching everything as it's unfolding. I don't feel the pressure to shoot at this point in time. Taylor is actually putting on his pants right now, so I don't need to shoot that. So I'm gonna take a step back and let JD take the lead on this. And then once his pants are on, we would get both simultaneously Taylor putting on his jacket. (camera clicks) And there's a purse in the background that I have to move. So I'm moving a purse, because it would just ruin the frame. I'm so sorry. Can I have you come out this way for, I'm so sorry, forgive me. (camera clicks) So what I just did is I just moved a purse that was in the background of the frame. So I just had a clean shot of him adjusting his tie. Now the window is rather distracting, but I'm just gonna go with it and blow it out. And then it is what it is. Now his friend got in the middle of the frame, which is, we can fill the window, which is great, 'cause it kind of blocks in the light. Just getting some last-minute detail photos. Mustache. There was two choices. They wouldn't let you go with a bird? They wouldn't let you make a bird. (Taylor laughs) Seriously, man, you could have easily made (mumbles). I thought they were birds. It was like mustaches or hearts. I was like I'm gonna skip on the hearts. (friends laugh) All right, we need our boutonniere. (men chattering) All right, Taylor, let's do your cuff links now. That's a good time. So Taylor, you'll stand right about here. And then Sam, we'll just push you guys back towards the window when you're ready, only when you're ready. So we're having him stand here, 'cause I want to use these frames as a frame. So Taylor will stand hopefully here, center here. We'll be shooting over the table. Great. (camera clicks) After they're on-- But I wanted to-- That's when we'll do the shot. Okay. Cool. Actually, you get this shot. Denise, I'll go behind you. (camera clicks) So what just happened right about now was that JD thought it would be a good idea for his best man to come in and help him with the cuff links, and I didn't think it was such a good idea, but JD is the lead, and he's right. It ended up working out the way that it should, so we're just going to get candid footage of this actually happening, and then hopefully some styling photos later. You got an idea, nice. They didn't, there's no hole in this. So I just left the groom's room, because I have a feeling that the bride is getting ready right now. So I'm gonna hop back down. Yeah, I don't really feel the pressure to get those photos right when she's starting, so I'm gonna be okay with that. But I'm just gonna go down, show my face, and then we'll be meeting the groom and the groomsmen outside in about five to seven minutes. So let's head down. So what I'm gonna shoot right now is just some prep photos from toe to head and then waist to head. (guests chattering) (camera clicks) Right now I'm shooting at a 1.2, three-20th of a second, 200 ISO. Now they do have a video light in here that I'm leveraging, which is just fantastic. Really? That's right. Yeah. Reception! Oh nice. So now we're doing head to toe. Your reception is working? (camera clicks) Now I'm gonna come in and do waist to, waist to head, excuse me. (camera clicks) Ashton? Yeah, babe. I have a Revlon rep for you. Okay. Look at the window. Eyes here. Eyes down to the ground. Thank you. (women chattering) (camera clicks) Right now, we're shooting for Revlon. Revlon is a major sponsor for this event. So Revlon sent me a list of photos that they wanted. So I want to make sure that I'm styling the photo in a way that's gonna be beneficial for the bride as well as for Revlon. So I have the Revlon rep here with us, and so I want to make sure that she's pulling the pieces that will actually work. So let me know what you are thinking. Yeah, so what you're doing with stills, this is fine. I like that bouquet. That helps balance everything out. It's beautiful. Perfect. It helps define that. In addition to the shots they have listed, I was just mentioning I want to take the top coat with Bet on Love-- Perfect. For rings. Perfect. If we can do that. Great, probably just your engagement ring. Or because the, actually-- If we can't do the wedding ring, the engagement ring is probably most important. Okay, actually, Jeannie, do you have the rings with you? I do. Oh great, so what we're gonna do... So this is a nice, can I give this to you? Thanks, love. Great, so what I was thinking about doing was maybe getting, as far as product shots go, instead of an overall, I think that for video, it works, and you can pan over. And then for stills, what I was thinking is maybe you can shoot aerially and stylize, so we can actually see the color palette. Perfect. If you're okay with that? Yup. Okay, great. There's like three main products that we wanted. Tell me. So it's the shadow. Perfect. This collection, although don't zoom in too much top. I'm not, I'm actually, if I shoot, I'm gonna be shooting down this way on them. Does that work? Okay, great, yeah. So for now, what I think I'm gonna do is I'm gonna use these. Are we done shooting this for video? For The Knot, The Knot had already shot this, correct? I don't know, actually. I'll actually just, I'll piece it back in the exact order that they were. I mean, beige is nice, because it kind of gives some balance sometimes. You want to try to get some colors on here, 'cause it's part of the collection. But wherever, like, feel free to stylize. So the color pallettes for the wedding, with any of these is-- Yes, that's fine. Okay. So if you want to do the look, it is-- Thank you, that would actually be really... (guests chattering) Do you want the ColorStay out in V as well? Great. That's okay, I just am verifying. That's totally okay. Yeah. This is bright eye. And then... (guests chattering) I need the bridesmaids in the room. Can you get the bridesmaids in the room? There was an eyeliner. I mean, it's the only one I brought down. That's okay. Let's just get back to the products is most important. Okay. And I'm gonna incorporate the rings within their box as well. That would be really cute, yeah. Okay, great. Let me get her ring. Okay. (guests chatter) Am I in your way? No, you're not ladies. Please forgive me. Sam, I'm so sorry. For Revlon, we need your ring. Oh yeah, here. And you're not getting it back. No, I'm just kidding. (women laugh) Thank you, ladies. Oh those are the flowers. It's really cool. They are all local flowers. So brides don't really know what they're looking for. So I'm styling this just the way that I would any other details on the wedding day. I'm gonna shoot this horizontal. I will shoot it vertically. And at this point in time, I'm not actually going to incorporate the flowers quite yet. So I'm just gonna get a clean shot of exactly what I need. Oh, did you want a foundation in this as well? Yeah. Okay. And I'm gonna grab a chair. If we can get something that's just close to the color. I mean-- Can you pick a foundation from... Perfect. (guests chattering) Oh. I'm gonna shoot this at a 2.8. I'm at 320 ISO. I'm gonna do a test shot. My focal point is going to be on the Revlon ColorStay. (camera clicks) So now that I know that I have this safe shot, what I'm going to do... (camera clicks) This will be my frame to shoot this over again. (camera clicks) Tammy, Tammy? Can you give me a review, once I have, a review shot with the Revlon products? Yeah, I'm gonna go off the script a tiny bit for Revlon, but I think I'm gonna try to incorporate their rings with the lipstick. We'll see how that goes. (guest chattering) (camera clicks) Right now, I just need to incorporate, I need incorporate the Revlon signage as well as the rings, and it's a little difficult, because the rings are bigger than the Revlon bottle, so getting them to balance is really difficult. And you know, it's just a new thing for me to be working with shooting product on a wedding day, 'cause I feel like I'm trying to style a product shot for a company, and that was just told, all of this was told to me just yesterday. So I don't think that I was as prepared as I feel like I could have been, I should have been. But you know, we're just... Do you have tape? I know. Here's some double-stick tape. Oh my God, thank you. (guest chattering) (camera clicks) So the thing that I'm focusing on now is yes, the ring, but also for the Revlon product in it. So now that I feel like this is just like a stronger positioning of it, I'm gonna add a few things in it that we had last time, 'cause now I just like them in freeform away from the box. (guests chattering) I like this styling a lot better. I think it's going to be better for them. Tammy, can I get a... I'm gonna get the... (camera clicks) So the bouquet... So I need to make sure I don't do the horizontal. I'm just making sure that I get a vertical. Now they had requested the bouquet with the ring. Oh wait, it was the bouquet with the product, right? Right, bouquet with the product. I'm sorry, I left my purse up there. Do you mind if I just grab it and come right back? Oh of course, of course, yeah, yeah, yeah. So here's the deal. She was making me so nervous. I'm not gonna lie. I'm not a commercial photographer. I'm not that thing. So I feel like that's kind of been a little bit difficult. I think that they're asking for photos that don't really make sense, like the bouquet with product and rings, but again, it's not my job to educate on the wedding day. This was just thrown to me, and I'm just gonna try to make the best of it. Can you hold this? (guests chattering) I'll take the rings for you. Oh are you gonna work this? Yeah. I know. (make up artist mumbles) (ceiling thumps) That is totally the boys, huh? I'm gonna really be honest and say that this is not like my favorite, but what am I gonna do? So how are we gonna decide on who gets the (mumbles)? And I was like I'll give them to you. Oh the guys are partying upstairs, though. The guys are partying it up, yeah. (camera clicks) Oh I'm sorry. I did exactly what you said not to do. (camera clicks) You're like, "No, that's fine. "I don't need to look around." I look around. (camera clicks) So then after I do this, I'm gonna need to get a shot of the bride holding the bouquet with her Revlon color manicure. But so far, I just feel like, in the sake of time, I'm gonna do what I need to do. This goes back to Samantha. I'll take this. And so then it's going to be important for me to put things back as close to possible as I found them. So-- I have double-stick tape if you need it. In your fanny pack? Oh I'm good. I'm just gonna take some tape from behind. Tammy, thank you so much for running back and forth. It's just that this is the last shot. And then we, for sure, have to go shoot the guys, 'cause they're waiting outside for us. Do you need her engagement ring, too? I have that, thank you. Okay. (guests chattering) All right, here we go. (guests chattering) So if you're wondering where I got the tape, I am getting the tape just from stuff that Revlon has already set out. So in this situation, I just would use whatever was around me, and in this case, it's tape. And we're just making this work. You're problem-solving. That's right, boo. (laughs) Mm-hmm. (guests chattering) Here we go, let's try this. Okay, this is about as good as it's gonna get. Here we go. Oh that smells so good. Yeah, I did go tanning. You look a lot tanner. I know, ooh, ooh. But I'm glad, it's good. Yeah, tan is good. I've never seen anyone get paler for their wedding. (laughs) Yeah, that's true. (camera clicks) All right. (camera clicks) I'm shooting this rule of thirds, horizontal and then vertical. Oh my God. (camera clicks) With the 50 millimeter. I'm shooting it in 2.8, 400 ISO, one-60th of a second. Okay, so we'll be popping back in. How far along do you think before she gets her lipstick on? I want to get those last-minute details. Like 10 minutes, maybe. Oh that's great. I'll be back in 10. I'll be back in nine. You think you can fake it? You might need to fake it, because I might need to move on to the-- Okay, perfect, we'll try to be back in five. Okay, cool. So what's happening right now is I have about two minutes to shoot this bouquet, because what they want to do is put a GoPro in it. I wanted to originally shoot that door, but it has broken light over it. They want to put a GoPro in the bouquet, and I think that that's just gonna make the bouquet look really ugly. So I'm gonna shoot this. I have about two minutes, not even that, to do that. I think we're at 200 ISO. I'm at 2.0. I'm just gonna use this brown door, and I will be shooting it two ways. I'll be shooting this bouquet just simply by itself, right now, and then I'll have the bride be holding it. I just kind of want to create a clean background to the best of my ability. And I'm actually standing in front of the restrooms. So guys are actually using the restroom. They're gonna be walking past me right now. And I just have to work as quickly as possible. (camera clicks) Now (sighs), so I shot it vertical. I shot it horizontal I'm shooting it at an angle, to make sure that I'm cropping out the bathroom doors in the background. I'm shooting at a 2.0, four-hundredth of a second, 200 ISO. I'm just gonna let it go, 'cause they're waiting for this. So Tammy, I'll give this to you. Guys, I'm shooting at a 1.2, 200th of a second, 200 ISO. (guests cheer) There's a lot going on. Oh my God. Oh stop! Tammy, you got that in. You got that, you're good? I'm on, I'm on, I'm on tear patrol. (guests laugh) #TearPatrol. Thanks (laughs). Dad, you look so nice. I told you. Who dressed you? I did, all by myself. I'm shooting Dad in the background, and Samantha is in the foreground. So I'm just gonna hopefully get like him in that candid moment. I'm just gonna wait for the moment. She's talking right through her stylist. (camera clicks) Did you double check that? Did you double check that? Oh yes, you guys are amazing! Oh my God. This is so much like you, too. It really does. I had no idea what to expect to look like here today. (camera clicks) (guests chattering) Sam, can I get you to look in the mirror again? Looking at the mirror, just-- Oh, looking at the mirror. Right, yup, yeah. I'm like looking at the mirror. (Jasmine laughs) Beautiful. Thank you, love, we're good. Oh I actually think, you put your faith in that. That feels completely great. Oh, oh, the lip! Yes. We haven't done the lip, or have we done the lip? No, we haven't. See, right on time, boo, right on time. Here we go. She was waiting for you. Thank you, ladies, I appreciate that very much. Matt, if you need anything from me, you just let me know. I'm good, thanks. Okay. (camera clicks) I'm sorry, I have the PA in the back. Lee, can I have you step to the, sorry, love. (camera clicks) (guests chatter) Soften the eyes. Sam, just relax and vary the look. There we go, beautiful. (camera clicks) There we go. (Jasmine laughs) (guests chattering) (camera clicks) Oh my gosh. Look how good, it looks great. Look at me. Have one hand right here, eyes down. We want a shot just as, like, that final look. Okay. I'm gonna shoot this at a 2.0 and increase my ISO to 250. I'm gonna get a test shot. (camera clicks) And what was the make-up artist, I'm sorry. The make-up artist? I'm good, I'm good. (camera clicks) So there's stuff in the background that I need to be, now can you bring your face over here, love. And then, all right, here. Oh my face or my hands? Um, keep your hands here. You're looking down at my hand, beautiful. And actually what was your make-up artists' name? Ashley. Ashley, can I have you take one tiny bit step out, just so I can get a shot of her, there you go. (camera clicks) Beautiful, let's take a deep breath, relax the shoulders, slight smile, beautiful, eyes here. (camera clicks) Relax the forehead. There you, there you (laughs). There you go, girl. That was perfect. No, that was perfect. (camera clicks) That's it, we're good. Great. Thank you. Good job. Thank you, thank you. Thank you, she looks stunning. So what I'm doing now is I'm just moving all furniture as much as possible outside of the frame and possibly into the hallway. This happens on a wedding day, and I will do it all the time in order to get the shot I need. JD is here, fantastic. Can I have you and me, we'll move this out to that hallway? As much as possible, but in case you feel confident moving it, that's okay. If not, we'll take it out piecemeal. Thank you. Into the hallway, by the orchids. Thank you, JD. So here's the deal, right now. So the deal is right now is, I have this area, and I have a light, and I have cords, and I'm gonna try my best to not capture the cords. So on a wedding day, I probably don't have to hide cords, but I have to hide a lot of other stuff. So this is the same principle that applies. (upbeat music) I want to make sure that I'm not ruining anything. But at the same time, I need to make sure that the photos look how the bride would expect them. Whoa. Okay. Right now, I'm gonna shoot with the 50, because I don't want to shoot with the 35, because we have a lot of stuff going on in the background. So I'm gonna shoot this at a 2.8. I'm shooting at 800 ISO at 125. Yeah, I like that light. So I have doors coming in from behind them. Ladies, you guys, squeeze in, squeeze in, nice and tight, nice and tight, beautiful. Now ladies, I will be cropping out your knees, but if you guys sell your legs, there we go. Alrighty, there we go, ladies, beautiful. (camera clicks) Gorgeous. I love this photo. Now, take a deep breath, relax. Relax the arms down, good. Now what I want you guys to do is just to kind of look at each other. So Sam, you're so petite. Can you pop out a tiny bit? There you go, boom, there we go. Now you can kind of, now, ladies, this would be great. You have your hand right over here. So Sam, you have your hands here. Oh yeah. There you go, beautiful. You're gonna be looking at each other, just kind of casual, hanging out, that's good. This is for practice, for later on. Beautiful. And everybody's gonna be looking at each other, and then Sam, eyes here. (camera clicks) Good. Everybody, lean in, nice and close, nice and close. (camera clicks) Thank you, ladies, beautiful Thank you. Thank you, okay, so quickly, dresses, ASAP. Let's go, okay. Wow. Oh look, she's already got it. So we're gonna talk about right now is recapping what happened during our bridal prep this morning. Overall, I have a pretty positive sentiment about the overall experience. I felt like it was pretty darn good. And I think it was only good, because I stayed true to who I was. Of course, were there things that I would want to change? Absolutely, but overall, I stayed true to the vision, and vision was cleaning up the bedroom, getting candids, getting posed shots, getting behind-the-scenes. A few things that weren't expected was having so many different people needing so many different types of photos. We tried rolling with it the best that we could. I will say that overall, I cleaned up the bedroom and the things behind the bride as she dressed. Her bridesmaids were incorporated in it. Even though things ran a little bit late, it was fine, because we were able to make up time at a later point in day. So overall, I feel like there probably wouldn't be much I would change about it, except for the fact that maybe not having so many chefs in the kitchen, but what's done is done, and I'm gonna move on from there, and I feel pretty darn good about it.

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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