Demo: Bride Interaction

 

Creating a Successful Wedding Photography Business

 

Lesson Info

Demo: Bride Interaction

Okay guys, this is the part we shoot. You know, we're on the cover. It's great I always look for places like this, this is like a studio flat. It's a little bit too much light coming in, so I'm gonna play with the curtains and things to achieve what I want. But we're gonna start with this. You know when we saw the shoots I was doing in the bar, this is basically similar backgrounds I have when I go in those places. And look, the rough door there, the colorful couches. I love this. This creates a lot of mood, you know it adds to the white dress, although she's not wearing white but it's a beautiful pink. I'm a modern bride. And it looks amazing. So I have a veil on her simply to be more creative with the shot, and Isabella. (laughs) What a beautiful bella is she, no. Now I selected Isabella from the pictures, I said oh she looks hot, let's get this woman. Stop, I'm not, please. Okay, you love to hear this don't you. Shhh, don't tell anybody, it's part of my job to be humble. ...

Okay now she's my model, she's my bride. Okay Isabella today, you're not going to be a model. Today you are gonna be a bride. Okay. Okay, what I tell you is what you're going to do. Alright. Okay so I've shot a few models, but when it's your wedding you have to be more romantic and just pretend to be a normal girl, although you are a normal girl, you're beautiful. But let's capture it more in a romantic way, okay. So now I'm at Isabella's place. I need a camera. Do we have a camera, it's here I think. (audience laughs) Okay. So, thanks guys. And now I'll walk out of the picture. I should be here. How are we doing out there any questions. Doing good so far, no questions so far. There was a question asking me what happens if you have any corrupted file. I've had corrupted files, I had overexposed film, I've had overcooked film and sometimes things happen, you know, so we are too protective of our digital file when film time, there was a roll, any damages there is no backup or anything else. So we were more taking risks those days and we didn't think about it. We suddenly have a better product and we say it can get corrupted, yeah we might even lose a card. So I was always worried to use a big card in my camera, because what happens if that card corrupts. It can happen. But I have a backup card also in the same camera. I shoot jpeg on one, I shoot raw on the other one. So, God forbid something happens I always have the jpegs. And originally I felt I used to need small cards in the camera so if one gets corrupt, it's at least one card, but then I realized that no, if I don't take out the card a million times and replace it, there's less chance of corruption. So now I'm using big cards, 125. So one for jpeg, the jpeg one I can use for a few weddings. The raw file, most probably 120, maybe not a is usual coverage. The Mac D4 has bigger files so it's going to take more space, but at least I know that I don't have to worry about cards. Do I miss film. Definitely not, every 36 shots I have to change film or even worse, 12 shots when I used to use the large cameras. 12 shots and you have to do it again. And then you have 10 rolls to shoot the whole wedding so you say please darling look at the camera. Let's make one natural one, look away so I can, please don't move because if we do it wrong, I lost two pictures, so we made sure that, it was harder work, you have to be more precise. So you couldn't play too much because it's expensive, you can't be creative because you need to do traditional shots, so it limited me. Now I can play. I can have fun and capture things that I want to capture, because I have the license, I have the card in there to give me plenty of shots and keep on shooting. Don't show them all the pictures, show them only the good pictures. Now for example, I'm gonna shoot a lot of images of Isabella. The same location, but if I take 50 shots, I will show her maybe five shots, and next, next, I'll select the best ones and I won't show her the rest. So then if you show her too many then they're gonna say this one or this one it's gonna be too complicated. She can't make her decision, but when I decide initially and give her the best, then she has a choice of so many, so it's very important. Okay, now Isabella has the veil on, on purpose because a veil for me is such a fun thing to have. You know I play quite a lot with the veil. That puts a bit more damage and it's also very important for figures. If I have a big bride, and I don't want to show, you see Isabella is a skinny girl and it's not a problem, but if I had a bride who has a long, big arm, and these days brides always want strapless dresses, or no sleeves, so what's gonna happen, that arm is gonna be dominant. That arm is quite dominant and it's gonna show in the camera, our camera is two dimensional, so that arm is gonna be bigger than her body, bigger than her face, especially if I shoot, Isabella turn so you will show the camera. Is this the camera yeah. Now if I do that, the back of the shoulder, the arm and everything becomes one. Exaggerated, bigger than what she really is. So always if I'm gonna do a back shot, Isabella face and relax your shoulder and veil will help me to reduce the arm. Just put it there a bit more. Okay turn around Isabella, when I've got that shot, turn, the other way around, so if I put one veil on one side that reduces the detail. Because even the bride has a mirror. She looks at herself, and she wants to imagine that she's perfect. And it's my job to make her look perfect. To make her 100 percent. Even if she's a big girl, even if she's a tiny girl, whatever, so the veil will help me to play with that. You know I can do that. Just dropping, so always I say to the bride, have a veil for some of the shots. I can play with it. When a bride wears a tight dress nearly like Isabella, if she stands like this, that's the cowboy look, and it makes her wide, it makes her unpleasant, especially if it's not Isabella, if it's not a girl who's got, and it's gonna create curves. I love curvy women, but you have to place her in such a way that she looks amazing. So Isabella knows this, but point one foot forward, towards me and show me your knee. Slightly turn this way, and the arm, always break. In a triangle. You see creating a triangle is beautiful. It makes her relax, so this is why fashion people want to put the arm in the pic there, so it creates nice angles. It depends how you do it also. You see Isabella has created a triangle there for me. It's so gentle and beautiful. If you're not a model, you think that it's awkward. It will be awkward if you make her feel awkward. You know you need to, that's it. Thanks Isabella, look what happens. Turn toward the crowd. This pops out, this pops out and it looks like she's a cowboy. Imagine if she has a bit more tummy, it's gonna be, so really gently. All of these are traditional shots. If you look at all the paintings, the finger up the finger down, all great, but I have one hour, I want to take a lot of pictures, and I don't want to do the posing part, because if I don't this Isabella, point one foot towards me. Okay bring your veil forward. Okay sweetheart look up there and don't move. Yeah, and okay. Put one foot up that way, okay that's it. It's too much, she's a model, she knows what she's doing, but when it's a real person and you keep on and then you start touching and saying come forward bring your chin up, I'm directing too much. So what's happening, this model is becoming fake. Look what happens if I do something different. Isabella, take a walk there sweetheart. Go there. Put my camera down for a minute and let's see how we, okay sweetheart, can you come towards me. And stop. Whoops. Okay that hand is, I don't want your hand out there. Let's try it again. So I have fun with my brides like this. Okay let's walk, and stop. Turn towards me, the shoulders, perfect, that's a great shot, now movement a bit more, move move and perfect. Point your feet forward towards me, shoulders back, turn this way, great. See, she's putting the hands up. Okay Isabella, put a little bit of veil up, yes. Push it up and okay, that was good but what I saw, try it again Isabella, keep your arm there high, when she does then the arm, we don't want that. So what I tell the bride, okay when you life the veil up, just drop your arms. You see the flow of the veil also happened, that created a nice flow. So I don't get the armpit of the bride, and look, how beautiful is that. The movement is there, Isabella, make a big circle, this is what I did to Denny. Come on, follow me follow me, and let's go, and you see, it's happening, it's like a fashion shoot. The bride is moving with me, so there's no moment to model for me. She moved the shoulders, slightly moved there, point one foot forward and that's it. Move your shoulders away. Beautiful. That's a great shot. That arm down was a great shot because there was not too much weight. Perfect, so Isabella let's go around, come the other way around. Okay. Come the other way. Now what you're gonna do, from there you want to come towards me, yeah and let's turn around and walk towards me. But hold on, hold on, don't rush. I'm a slow guy. Okay take a walk straight in one line. Take a walk in line. Go go go. Turn around towards me, have a look, and turn around and you know it's creating a lot of real moments. It's creating a lot of real moments. So it's very important to create that mood. Now you're gonna say but she's a model. She's gonna do it dead naturally. Yeah, she's a model, she's trained what to do, but what if I pick up one of your girls and do that for me. She's looking down, she knows I'm gonna pick her. Come, you're a relative so you can. Okay now you do it for me sweetheart. (applause) Okay Kristen go there. Isabella take a break for a minute, you're a bridesmaid. Okay Kristen, go there. And do what I do, just, and stop. That's it, you see. She picked out the spot. And turn around darling. Put your hands on your waist. Lean forward towards me, chin up, you see it happened because she's repeating what I'm doing. And she's becoming. Let's one more, I'm not gonna embarrass you too much. You see that moment when I talk to her, she's giving me expression. You know yes I'm a relative to her but it's the first time I'm seeing her so, you see. Hi sweetheart, how are you. So you see, you see what's happening. She's reacting with me. I'm shaking. She's nervous. Girl, you're gorgeous, don't be. But she's interacting with me. You know this is what Isabella does all the time but she's never done it, she's behind the camera. So it's important for me to get the interaction. Come on, that's it. You see it happens. When you make them, now I do it the other way. Kristen come put your left foot forward. Don't move sweetheart. Chin up a little bit. Put one foot, turn around, freeze her there, and bring the groom into the shot. This bride is not moving anywhere, she's not doing anything. It's the same shot. Instead of, Kristen, come towards me sweetheart. And stop there. Yes, okay that was a big step. (audience laughs) You see I've got the shot. I've got the shot, I'm looking for excitement. Okay let's do one more darling. Take a walk, and hands in the pocket and stop there. Perfect. I'll exercise this a couple of times without my camera. So if I can do it she can do it easier. So once you see she's relaxed with me, it's gonna happen. Thank you darling. Sit down, thank you. (applause)

Class Description

International award-winning wedding photographer Yervant explains how to make your wedding business a success from capture through print. Before you can take great images, you need to build a strong relationship with your clients. Yervant guides you step-by-step on how to foster that relationship with your clients, interact with the entire family on the wedding day, and how to piece together their story to guarantee a happy client who’s excited to make a large purchase. Utilizing a real wedding, he’ll break down every moment of the day from portraits through reception. You’ll follow Yervant through his post-production process and album creation to help you maximize your product sales.

In this workshop you’ll learn:

  • Capture techniques for the bride, groom, and wedding party
  • How to work quickly on location shoots to keep your clients happy
  • Editing and retouching techniques in Lightroom® and Photoshop®
  • Album layout and design
  • Monitor calibration and printing techniques

Being a wedding photographer starts with a passion to capture your client’s love story. In this course, Yervant will share his secrets for remaining passionate, relevant and maintaining a thriving business during his wedding career.