The Knot Wedding: Bride + Groom
It's 2:17, I have a press deadline at 3:30. I haven't got a single portrait of the bride and groom. My heart breaks for them because they haven't had a single time to veg and chill. I have about five minutes with them here. I have a natural reflector here. I have good light coming through the trees. It's really harsh lighting. This is the best I'm gonna get. I'm gonna try to work with them in the next five minutes, get at least one photo that I'm proud of, and that's what we're gonna be sending to press. For the first push, tomorrow's push will be a separate edit, which we'll talk about. Today we'll talk about tech elements. And just a portrait of the bride and groom. Taylor, I know you guys want a party. I get it. Hold on to that knot, homie. Okay. So for these, Taylor can you turn this way? Taylor, wanna turn this way? Can your legs come out this way?
Yeah, do you want my dress and bustle?
Uh, no, no, no, you're good.
Um, Ferris, do I have the bouquet? Great, and Taylor, turn i...
nto Samantha. Wow, that is really dark. What's wrong there?
He super comfortable tucking in.
No, no, no, no, no. You're good. And could you turn towards each other? I'm gonna get your profile. Taylor, your hands around her waist.
Here, or here? Or back?
There we go. Yeah, there we go. Bring your foreheads in nice and close. Beautiful. Good, this is beautiful. Can you guys both look at JD? Yeah, and Taylor, open you shoulder up to JD, and then Sam, lean in a little bit more. That's great, guys. And then, Taylor, looking at Sam. And then Sam, looking at JD. And then Taylor, bend down and give Sam a light kiss. Nice. Good. Oh, this is fantastic. Now, I'm just gonna do a traditional portrait real quick, because this is what the press always likes. Taylor, take a step back, and then Sam, fall right into Taylor. Oh, yeah, the other way. Beautiful. And actually--
Can we switch?
For your ring, yep. That side, sir. So, for this portrait, I'm just gonna be extra conscious, because I want to get her ring in the photo. Yeah, maybe more like this. So I'm gonna get the portrait right now, and then we're gonna pop that right in. Right, it's beautiful. Let's see, Taylor can we have your hand in your pocket? Let me just get a test shot. This is beautiful. Can you guys just take one step this way? There we go, right there.
I still think so, okay.
Beautiful. Good, and then eyes at each other. And then Sam, bring your right hand behind his back a little bit more. There we go. No, behind his back. Yeah, hide it a little bit more. And bring your hand up to his lapel. So that, right about there, yes. Yes, that's (laughing) Can you guys bring your foreheads nice and close together? And then Taylor, wrap your hand around her waist. There we go. There we go. Forehead to forehead. Hang out there, hang out there, hang out there, hang out there. Peel away from each other, relax the shoulders. Beautiful. Take a deep breath, relax that front left shoulder, Sam. Oh, Taylor, boom. Alrighty, how's your back, good? Now, Sam, could you look here at me? And then, good. And now, Taylor, can you lean down and kiss Sam wherever your lips land? Beautiful. Thank you guys.
You did this now, early.
I do, I do, I do.
I like it. (laughing)
I love it. Ferris? Thank you, thank you. You're gonna hold your bouquet, you're gonna interlock your arms. Can I have this hand in your pant pocket? You're gonna interlock your right arm around Taylor's left arm, and this is it. This is it, friends.
I was hoping you'd say that at some point today. (laughing) He's like, I love how she calls us friends. (laughing)
I love it, I love it. Alright, now, yes. Actually, like this?
And then, Taylor, can I have your hand in your pocket, too?
Maybe under this portico, okay?
I just need light. Needs to be lighter. The greens are too contrasting.
And then, lean against. Yep, there we go. Beautiful.
Do you want the buckle down?
I think we're okay right now. We're shooting pretty head on right now for a press, Sam. Later on we might. Beautiful. Now what you guys are going to do, you guys are going to casually walk towards us, looking at each other at a nice slow cadence. You guys are looking at each other in three, two, one. At it, beautiful. There we go. Keep the weight on your toes. Keep the weight on your toes. We have to compensate for that light that's coming in. She's like really, really, really blown out. But know she needs to come back in the shade, so you need to be extra careful. I have to compensate, this is the shot that I'm gonna want. Beautiful. You're gonna turn towards JD. Good, nice. Okay, we're gonna get one more shot in this portico, and then you guys go out to party. So now what we're gonna do, is we're gonna have you guys facing each other.
Should we close that door?
Yeah, I'll close it.
So this light is, um. I'm gonna do a test shot. I'm gonna use the frame.
Can I get that accessory over there?
So the farther we pull back from the couple, the sun is ... Thank you. No.
Lift up your, I think that's your right leg.
Oh, that's a nice bustle. That's easy.
What do you think about this?
Well, I'm gonna wait until they're done. Am I gonna get better, or not gonna?
Yeah, thanks. At least we have options. So after the party, we'll do the door, we'll do the vineyards, and we'll call it a day.
In frame, the light's good, but in the rose garden it's probably better.
No, the vineyard's, I think ... I mean, it's a vineyard. Hands around her waist. Eyes at each other. Beautiful. Tippy toes. Can you get up on your tippy toes? And then Taylor, you come down and give her a nice kiss. And then make it more for the kiss. Make it more for it. Lean back, lean back, lean back, Sam. And then Taylor, you lean into her. Beautiful, good. Now you guys are gonna look here at us. And you guys are gonna walk slowly towards us, hand in hand.
If they're walking again, should I video that?
Oh, yes, yes, yes.
So we're gonna do one quick shot for a video.
Next thing, slow towards us. Looking at each other, nice and slow. Beautiful. Taylor, hand in your pocket. There you go. There you go. Thank you guys, we're good.
Enjoy some food.
So, we are at the end of the wedding day. End of the formal wedding day. So, the wedding was slated to end at four PM. The bride and groom were taken away. And we're in like a waiting period. The press is having to go through questions and answers with the bride and groom, which is not typical of a wedding day, however, it could be typical in a way that after a wedding, people just wanna chat and talk with the bride and groom, so I'm just gonna treat it as that. Of course, there's a propensity for me to be frustrated with how things have gone, but that's okay. We're just gonna roll with it, we're gonna give them the time that they need. Now, in previous lessons, I talked about how creating an experience from the photos allows clients to look back at their photos and think of how special that time was. So the more time that clients are spending with press, the less time they actually wanna be in front of the camera, and it's totally understandable. I need to respect my clients, but at the same time, I need to make sure that their gonna get photos that are gonna last them for generations. So, do I think I'm gonna shoot them a full 30 minutes? No. Because I just honestly don't think that they have it in them. So what we're gonna go into right now, is we're going to shoot the bride and groom. We had shot them earlier for about five minutes, so that I can fall into a press deadline, and now we're gonna do is hopefully shoot them around 15 to 20 minutes. As we do that, I'm gonna focus on three main locations, hopefully we'll do kind of a greenery area, we'll do a landscape venue area second, and then hopefully, we'll see how it goes, we'll end out on the vineyard. So that's the plan, hopefully we can stick to it, and within that time frame of about 15 to 20 minutes, we get what the clients totally and ultimately deserve. So I'm now shooting with the 35. We get a wide shot with better light, and it's just gonna be complete candids up until this point. Great, I'm gonna balance between what the videographers need and what I need, so we're just gonna have the couple walk here, I have a moving truck, I have bridesmaids, I have a lot of stuff going on over here, so I need to crop in camera, and get them simply walking and enjoying this. So, Sam.
I'm gonna shoot this at a 2.8.
Alright, so I'm shooting this tight?
Yep, so JD's shooting tight. Actually you guys, right there was fantastic. JD's shooting tight, and I'm shooting wide. So, what we're gonna do is, you guys are simply going to be walking towards the direction of JD, nice and nice and slow. You guys are just enjoying this moment, looking at each other.
Looking at each other. Oh, look at your ring! That's cool.
That's so cute, guys. You just doing that is fantastic. And, JD, are you ready?
Great. Taylor, hand in pocket. Nice, nice and slow. Good. Good, pause there. Taylor, I'm gonna get you over here. (laughing) Taylor, I'm gonna have you stick your feet underneath.
Wow, where did this come from?
I think you're just shedding. So Ferris, should we just cull it, or should we fight for it?
No, it's fine.
I think it's good, Jasmine. I think it fell.
They're fine, yeah.
We can just pull off some. We're up.
Bye, mister and missus.
We'll see you at the after dark party.
Sam, I need your back in his chest.
My back, his?
Yep, and he's gonna have his ... Wrap your arms. And then you relax the bouquet. And you guys aren't gonna be paying attention to us at all. You're gonna just be focusing, nice. Beautiful. Looking up towards the chateau. Giving you guys both a ... Oh, hang on. I needed to switch my iso. I was over exposed. Need to be at 200 iso. There we go. 640. 640 for the second, and shooting with the 35. Looking at towards the chateau one more time, loveys. Great. Beautiful. Now, I'm gonna shoot wide open for this. Beautiful. I'm gonna test my light. Beautiful. Hang out there for one sec.
No, no, no, you take your time. Beautiful. Taylor, can you come down, and kiss, uh, yes. There we go, there we go. You can do that. That's beautiful. Sam, relax that front and left shoulder. Beautiful, and take a deep breath, look down.
That left shoulder, man.
That left shoulder creeps on you. Okay. Beautiful, relax the bouquet. Relax the bouquet. Beautiful. And then eyes down at the floor in front of you. Take a deep breath. Slight smile, eyes here. Boom. Okay, look at JD. Sorry, I was being feisty. Oh, darling, you are just so fierce. Okay, let's do the vineyard. It's gonna be a little bright, it's gonna be a little hot, and then the rose garden, we're gonna call it a day.
We're bright and hot.
We got this.
Fitting, boom, done. Here we go. Okay, so what's going on is, I suggested this row. JD suggested this one, because it's continuous, but I noticed this thing was gonna be in competition, so we're just gonna tie it back, hopefully, and then we'll bring it back out.
You need a bottle of wine.
No, it's good, it's good. It's good. Okay.
Go over to the chateau.
I know, I'm gonna get a bill for that. Okay, we're gonna have you guys walk down center. And you're gonna hold your dress, and we're gonna make this part of the photograph. You guys are simply--
Can I hold mine walking down.
I would love that if you did. I would love that if you did. I need point two. I'm at 125 iso. 800 for the second. I'll see where we're at right now. This light is just mediocre. It's not that great, I'm not gonna lie. But, it's vineyard photos. And this is what they want. Beautiful, pause there. Release the dress, Taylor. Good. And then, you'll have that bouquet down exactly where it is, Sam. Gorgeous. Relax the hands between you two. And then look at each other. Taylor, hand in pocket. Atta boy. There we go. Now we're ready, we're cooking with fire, y'all. Good, lean down. I wanna see more of your profile, Sam. Good, now lean down for a kiss. Thank you. Beautiful. Great. I'm gonna switch my lens, I'm gonna shoot with the 85. Atta girl. Make him work for that. That's beautiful, one more time. One more time, one more time. Beautiful. Good.
Are you shooting with the 85 now?
Yeah, I'm shooting with the 85. So now, what I'm gonna have you guys do, is I'm gonna have you guys slowly walk, and just as you turn back like that, that's exactly what I want. That's exactly. Because I'm not shooting the both of them, I'm gonna drop this down. I want him looking at you. So I'm gonna test the light. I'm at 2.2. Now, if she turns back, the sun is not 100 percent on her face, I'll be able to nail it. If the sun's bisecting her too much, I'm gonna over expose. I'm gonna try this twice. I'm at 2.2, 800ths of a second, 125 iso. Sam? Just turn over real quick, let me get a light test. We're good. Good, Taylor, that side profile of yours. Looking good, fantastic. I'm gonna have you guys start on the count of three, two, one, with the cadence with the left foot. In three, in two, in one. We're walking. And Sam, turn back. Beautiful, look forward. And Sam, get ... Whoa, whoa, sorry boo. There you go. Get closer to Taylor, Taylor, hand in pocket. Take your time, Sam, take your time.
You're walking. On your train, back. Good. Beautiful. Pause there, turn in at each other. Beautiful, a little bit more. So Taylor, turn your chest in closer to hers.
Is okay that I do this?
Yeah, that's fantastic. Actually, put your hand up. Beautiful. And then Taylor come down close to Sam, so that you create a shadow for her. Closer, closer, closer, thank you. On the other side of her face. Beautiful. Bring your foreheads in nice and close. Actually, let's do forehead to forehead, nose to nose, there we go. And, this time, Sam, look at the ground in front of you. And, Taylor, this is it. Relax that front right shoulder. And, Taylor, you lean in and kiss where ever your lips land. Beautiful, thank you. Pause there, pause there. Hang out. Good. Now, what I want you to do, is I like that, but what I want is instead of this, I kind of want you to arch your back. So you're gonna push your pelvis into his, make him work for it.
I like that.
Good, good. Great. Now, we're gonna have you guys walk back towards us, and we're gonna head back towards the rose garden, and then we're gonna call this wedding.
Yay, that's a wrap.
Let's see. So, Taylor, I'm gonna have you step closer this way. Yeah, yeah, yeah. And then Sam, you're gonna step in closer to Taylor. So, we have some major hotspots, so I'm not sure if this shot's gonna ... Taylor, can you fix your hair right here? Put it behind your ear? There we go. So this light ... So, let's see. The thing I want to avoid is Sam, you looking up at Taylor. So Taylor will be looking forward, and he'll be looking down at you. You'll be looking at me, at the ground, at the vineyard. Me, at the ground, at the vineyard. And you're gonna take your time. However long you need to do this.
You, ground, vineyard.
That's right, boo.
I got it.
And you're gonna take your time. I'm over exposing the vineyard greatly just to expose my clients where I need to. I'm ready for you all. Beautiful. Oh, you got it down. You got it down. You got this down, I love it. Taylor, eyes at your gorgeous wife. She's in almost full sun, to compensate for that. It's too dark. Beautiful, relax, relax the shoulders. Left shoulders, look at the vineyard one more time. Heck, yes. Thank you. Dang, you guys look good. You guys look good. We're ending this at the rose garden, so here we go. So, here's the thing. So I actually wanted to stop the bride and groom here because it was a portico with greenery. But there's a big bald patch in the greens above it, and I just don't think it's worth it enough for me to fight for that photo. So what I'm gonna do know, is I'm simply going to have, I'm going to look for pretty light. I need to shoot just three more locations. I just need to keep them with me. If I'm gonna sacrifice them being one of them, so be it. So, I'm gonna get you guys right over here.
And Taylor, you can still hold her dress. And you guys are gonna come out towards me. And you're gonna be looking at each other, and walking. You're just gonna lower that bouquet, Sam.
You don't wanna raise it up here.
Yeah, beautiful, we're walking. We're walking. Beautiful, beautiful. And then, yes. Gorgeous. And then, Sam, eyes here. Relax, bring that chin down, boo. There it is. Eyes up at Taylor.
Alright, we gotta bounce them. Almost a back pane look, but it's that side.
Okay, let's do this.
And then also, come here real quick. This should only take a couple seconds to get to.
Okay, so we're gonna put them over there. So JD's my secret weapon, that's really what this is about. Okay, we're going to have you guys ... Let me put you guys right here. JD, JD, I need you shooting tight. Samantha and Taylor, I'm gonna get you guys right over here. Beautiful. So we're gonna create a v with your bodies. So, Taylor, come here. So this is Taylor, this is you. You're gonna create a v this way. So you're gonna be facing that way, I'm gonna be shooting you from behind. We're gonna hold this.
Yeah, you're gonna open up that way. I'm shooting you guys from behind here. Ferris, let me give this to you. Go forward, go forward, go forward, go forward, go forward, go forward, go forward, right there. And then Taylor, you go up there, make my little v.
This is gonna be pretty.
Girl, you have no idea.
They are all gonna be pretty.
I don't think so.
I'm gonna shoot this with my 50. Beautiful, can I get profiles at each other? Right there, yes, beautiful. More profile, Taylor? Turn in, yep, there we go. Yes.
Alright, I'm gonna go tight right now. So I'm gonna actually pull back as much as I can. Just a little bit. Go as far as you can go.
Yeah, I know, I got it, I got it. That would be great creative light footage, me falling backward. That would be, yeah. Ah, there's people walking, pause for just one second. And we're good. You guys looking at each other? JD, good, got it. Beautiful. Now, you guys are gonna walk. You guys are gonna hold hands. You guys are gonna walk when I call you, you guys are gonna both look back at me. So, hold hands. You're gonna walk in three, two, one. And you're gonna look back at me. Nice, thank you. Okay, we're just gonna do one more location. Beautiful. Sam, can you interlock your arm around Taylor's elbow? There we go. And Taylor, have your hands in your pockets? There we go. Nice, and then Sam, scooch your booty in closer to Taylor. There we go. Beautiful. Eyes here, Sam, rest your head on his shoulder. Taylor, wake up, we'll get you a drink soon, homie. We're gonna get you a drink. In ten years from now, in ten days from now, you're not gonna remember any of this, this is just gonna be the best day of your life. Here you go, boo, here you go. Fantastic, JD, I need you to get that angle. Great.
Perfect. Look at that.
Beautiful, end at the door, Sam. We'll end at the door, and then we're good. This is for you, boo. No, are you guys okay walking through here, do you wanna go ahead? So, Ferris, can we just drop the dress real quick, so we can shoot them? Sorry, love. Great. So, we just ended a portion of the bride and groom. So, we went to areas one, two, and three, and this is where the bride had mentioned this is what she really wanted. So how perfect would it be for us to end the shoot here in front of the door. JD's there getting it set up. This is where we're gonna end it. It'll be special for the bride and groom, and a really perfect way to end their day entirely before they get back to the hotel and enjoy a party. So, what I'm gonna do first is shoot just a bridal portrait of Samantha, and then I'll add in Taylor. Come out to the edge of the hedge, Ferris, right there. And then, back it up, back it up, back it up, back it up, back it up. A little bit more. Are those your moves for the pool tonight? Okay, back it up one more time, one more time. Ferris, sorry, it was just light. Now, she's good. Now, I'm gonna shoot this bridal portrait at a 2.0, iso 200. I'm gonna get a test shot real quick, kind of see where we are. It's a little bit dark over here, it just is. I know that I'm going to have to blow out the sky around her, and I'm just going to have to say that that's going to be okay. So, right now, I'm shooting this. At a 200, at 2.0. Actually, I wanna shoot this. I'm gonna shoot it wide at a 1.2. Because it's only her, and I think we can blow out a lot of the stuff that's gonna create some beautiful light. I'm gonna shoot this at iso 200, 640 is the best I can get at an f 1. I'm shooting with the 50 millimeter. Great, I have the light where I want. Now, when I had initially had pulled back, when I was shooting her from this area, I blew up too much of the sky, which became a distraction, so instead of trying to get the sky, I'm simply gonna walk in, and just get this beautiful frame around her, and get some beautiful light. I do have a natural reflector popping off over here that's gonna be adding a little bit of light. If this light was not here, it would be far too dark to shoot in this without saving really precious skin tones. Relax, relax the bouquet, relax it, relax it, relax it. Beautiful, now bring it this way, good. Now, don't think about it anymore. Just, exactly, take a deep breath. Beautiful, look down at the bouquet. Beautiful. Take a deep breath, relax that right shoulder, and bring those eyes here to me. Slight smile, atta girl, look up towards that window. The brightest window of them all, with your chin, not just your eyes. There you go, girl, beautiful. I'm gonna peel in, adjust my light. I'm at 1.2, 640 to the second, 200 iso, beautiful. I have you there, yes, at the bouquet, yes, beautiful. And then bring those eyes here. Relax the forehead, take a deep breath, just relax those shoulders, beautiful. Give me a nice smile. This is a traditional Samantha smile. We know you, we have to have a lot of those. We'll have a mix, we'll have a mix, we'll have a mix. Just relax it out, shake it out, beautiful. Now give me your just regular, good, smile. There you go, girl, beautiful. Take a deep breath, relax, I want you looking down at your bouquet. I'm gonna stand on my tippy toes, I'm gonna shoot down at her, so I can get a nice beautiful make up shot. I'm gonna just do a small little hair adjustment. And then adjusting hair to save time later in Photoshop. Hang out there for one second. I'm gonna adjust the lighting to 500th of a second, because I'm shooting really nice and close and tight. Beautiful, take a deep breath, relax. I'm shooting slightly down at an angle. Bring the eyes up to me. And then just relax the forehead. Relax the forehead, then bring those eyes. Thank you boo, that's it. I hear you, I hear you, he's fighting for it, because you look so good. Okay, we're gonna look at JD.
We're gonna add Taylor, and we're gonna call it a day. Did you have a particular vision for this door?
Did you wanna do anything by this? I just wanna make sure.
I just love the door.
Okay, good. And Taylor, this is it.
Home stretch. That's right, this is the 12th inning.
This is like 20.
I know, I know.
No, no, no, no, the both of you guys.
Well, I didn't know.
Let's see, Taylor, let's scooch you back. Let's get you closer to the door. And I'm scooting Taylor back close to the door just due to light, so just get back a little tiny bit more. And Sam, just, great.
Lift up, and Taylor lift up your right foot, there we go. Beautiful. Okay, I'm gonna shoot this at a 2.5. Great, beautiful. Okay, and relax that arm around his waist. There we go, boo, there you go, beautiful. Eyes at each other. Taylor, hand around her waist. On the inside of her bouquet around her waist, turn your toes towards her. Beautiful, we'll do just one more light kiss. Here it is friends, boom, great. One more, hang out one second. One more of those. Thank you, that was it. I mean, it was crowd pleasing, high five, thank you.
Thank you so much.
Taylor, right, huge sigh, huge sigh. We just finished the bride and groom portraits. What you guys saw was shoot about 15 minutes, and if you guys were intuitive and seeing what was happening with the groom, is that he was exhausted. They had been on all day. They've probably had maybe five minutes to themselves all day. I knew that because of that, I needed to make this experience as quick as possible, and as effortless as possible. As a result, we exchange hugs and affection at the end, so for me it ends off on a high note. So the way that we ended off on a high note was walking through, having a plan of action, and a map of what we wanted to do. I started the session by saying I wanted to shoot in three locations. By the trees, we had a lot of green foliage. Now, this was in addition to that five minute photo shoot we had for the bride and groom for press. So I decided not to shoot so much in the green area, but I decided to shoot it differently. I shot it tight, I shot it with the 50 millimeter the first section of the greenery, then I shot it with the 35 millimeter in the greenery at the end. What I wanted to do was create depth in the bride and groom, and the trees in the background, and the sun kind of shining through. So we executed that in the first stage. Then, we went to the vineyard. Now, I do know that I absolutely, positively over exposed the sky, and I do know that I over exposed a portion of the vineyard. But I do also know that her dress was saved, and her skin was saved. That's going to be my priority, and hopefully in post, I can bring back some of the highlights and really get a photo that I'm really proud of. Technically, should I have been shooting with flash? Should I have large reflectors? Maybe. Aesthetically, it was my decision, and I stand by it. The last location we came over here by the rose garden. Now, the rose garden to me was like a safe zone. It was just a way to kind of beef up their post wedding portfolio. Do I think they're gonna like the photos? Yeah, I do. Do I think that I'm gonna be posting a lot of these on the blog or on the slideshow? Maybe not. But by the time we came to the door. Now, earlier in the day, the bride had mentioned that she wanted this door. So in order for us to work it back into it, we had great light, and I thought, if I could use the door as the symbolism to the end of the day, I think that would sell the idea, and that would keep Taylor going, because he knew how much it mean to Samantha. We ended it here, and we ended it again on a high note. They said thank you, we said we'd be in contact, and we absolutely will. Now, just to give a closer to the day, Samantha's mom is still in the hospital. She was supposed to be here at the wedding, so we had some communication, and she had said "I really want my mom to be apart of it, but I don't think she'll be able to make it." And she was crying, and I think it hit a nerve with me, because I knew how I felt when my mom had cancer, and I said, let's do what I need to. I'm willing to go right now to the hospital, 'cause her mom was admitted to the hospital, so I said, let me go to the hospital, put on a white dress, have Taylor put on a suit, and I will shoot you guys there. And she said, "Thank you so, so much, but I want my mom to see me in my wedding dress. So how about after the wedding, you come out to the hospital, and we will either shoot at the hospital, or we will take her out to a park nearby. And I said, "You have my word." That this wedding isn't complete until I shoot those photos. So, I'm hoping that in the next few weeks, I can bring this all back around, once they get back home, kind of decompress, and then we'll take them out, we'll head out to where her mom is located, I will do that on my own time, and on my own dime, and because they deserve absolutely the best and the most. So, I hope that I can bring you guys along with me on that journey, but that concludes the wedding day, and that is a complete wrap. Thank you guys for joining the highs and the lows, and that moment of stress. I'm pretty sure I have a permanent crease in the middle of my forehead from all the stress, and running back and forth, but we made it through, and I thank you guys for joining.