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Month 2, Week 4 (Oct 27-Nov 2) - Feedback & Weekly Review

Hi, everybody. Welcome to our newest weekly video. I'm glad you guys are all here and you're still sticking with me. I haven't turned you off completely with all of the spreadsheets and all of the shooting. And if you're itching to get to post production and albums were going to get to that in a very short couple of weeks, people are really turning in the homework, which I think it's fantastic. We've got a lot of homework assignments coming in. So we right now I've got about 700 images to critique on the live day, so that should be a challenge and fun. But we've got some questions coming in today, and I just wanted to take some time to answer them. If you're wondering, you know where in the world am I right now, since every single time I do one of these videos, My batter on changes. Now I'm in my husband's studio, Click Mountain Air Photography. When I am out here in New Jersey, this is where I work so you can see such exciting things behind me as extension course and bags of gear. So ...

the studio is really beautiful, but it isn't just for show. We both do work out of here and probably try to keep it is need as possible. It's not always easy. Yes. So I'm gonna jump right on in and started answering your questions. All right, question number one from the workbook. Your packages include coverage hours ranging from 7 to 9 hours. How do you recommend handling weddings that need coverage beyond the included time? Whether this is known ahead of time or occurs because things run over, is there an agreement beforehand and stated contractually that additional hours are ex rate and any over it is invoice to the client afterwards? Yes, I'm not sure if that was a yes or no, but I'm saying yes. So I do have collections that range from 7 to 9 hours, and a lot of times that really meets the needs of my clients and the specific demands of their wedding day. But talking about overtime happens at several different times. First of all, usually it happens when they're booking me. So if someone will say, Listen, you know, we're really looking at collection to, and it looks great, but we don't know if we're gonna need more hours, and I always say, You know, that's OK. I understand it's six months, nine months a year, a year and 1/2 away from your wedding, and there's no way that you could know exactly how many hours are going to need. So contract will do a contract for the bare minimum that you know you need, and you can always add on any additional hours after that. So the second, the client's book me the price list that I sent them becomes an addendum to their contracts. So if they want to make any changes Teoh number of hours or types of albums between looking me and the wedding that $400 an hour price for overtime is attached to their contract. We usually talk again about it as we're doing their questionnaire, as we're doing the timeline for the day, and sometimes it will come to light that they need another hour. Another two hours. One time it was even another six hours, which is fine, and I tell clients, Please don't worry about the overtime. Overtime is something that I will always believe for after the way, whether you decide two weeks before the wedding that you need another hour or whether you decide on the wedding day Do you want me to stay for an additional hour? None of that is bills until after the fact part of it is because I think it's easier to bill after the fact for overtime. Part of it is because one of the few things about Yuki that I really don't like if they make it very difficult for you to amend, um, invoice once you've actually written it, So you can't just go back in there and type in another hour. Over time, you actually have to avoid the entire original invoice and start all the way over from the ground up, which is really not user friendly, so it makes it a lot easier. All I have to do is send one invoice post wedding for the amount of their overtime. So we have talked about it and it does come up. They do, you know that they can ask me about it on the day off, but no matter how we come about it, they are very well of the product. Very well aware of the price and the fact that I will post wet. All right, question two. How would you handle an overbearing mother of the bride? I once had a mother of the bride look over my shoulders. I photographed asking for specific shots. You know, I would treat this exactly how you know there's a question down here. Question six. My clients usually have complete trust in me and what I do. However, I keep running into very bossy and sometimes route bridesmaids and other guests. I would like to know if you ever run into this, how do you handle it? I feel like that question really goes hand in hand with the overbearing mother question, which does happen on occasion. Um, you know, it happens less unless these days, sort of as I as a game, not only the trust of the clients, but their parents as well. But a lot of times it does happen with bridesmaids, and it does occasionally happen with parents. And listen, I I run into situations that make me very uncomfortable at weddings to, you know, I don't just had a member remember a group. Look, A member of the group mentor ship actually ran into him at the wedding. I was shooting this past weekend as I was frantically tearing around the hotel trying to find anywhere that I could shoot inside because it was raining outside. He was shooting a wedding that was happening in the same ballroom. So he met me at my most flustered. So, you know, if any of you have the idea that things are always smooth sailing for me, they're absolutely, totally and completely not. You know, A couple of weeks ago I had my regular assistant could not come to the wedding with me. She had a family commitment. And so I brought my wonderful friend John, who sometimes assists my husband at weddings. He's a tremendous put of journalists, very talented photographer when he was a gentleman, much older than I am. And I had to deal with the entire day every single person at the wedding, including parents going up to him and asking him for things and going up to him and asking him about timelines, babies and assuming that he was in charge and I was the assistant. So, you know, stuff like this happens to me all the time. If someone is overbearing, if someone is over my shoulder the entire time. I just keep gently saying, you know, don't worry about me. Everything's fine. Go enjoy your day and then I move away from them and I will just keep kind of dodging them and dodging them and dodging them all day long. There have been very few instances where I've actually had to go to a bride in the lifeless in. You know, your mom keeps asking for all of these pictures that are really contrary to what you're asking for. You know, I could tell your mom to stop, but she's not gonna listen to me. Can you just kind of tell your mom to back off and then the bride will be like, you know, my mom? Stop it. And then, you know, you you kind of sort of possible with passive aggressive way to go about doing it. But usually, you know, if I if I show that I'm not flustered by what they're doing and if I sort of pat them on the hand and say, You know, don't worry, I'm on top of this. It's great. You go enjoy your day. Please don't worry about me. Usually after a certain amount of time they do pat down. Bless their hearts. All right. Next question. Question three. I would love to know if Susan has ever used a 50 millimeter backer lens and what her thoughts are on the Lins. I've never used a 50 millimeter, but by a very first macro lens was the Nikon 60 millimeter and I love that lens. I actually Oh, I think it's actually he's still in here somewhere. I'm a little bit of a lens Werder. I have a really hard time getting rid of them, even if I'm not using them. So I love that 60 millimeter lens. It was a great winds. It's a great focal length, but as I really started to like the look of a longer lens a little bit more. My husband got ahold of 105 kilometer macro and he started shooting, beating it, and I borrowed it from him and the second I used it, I was completely in love, and I think that the 50 millimeter macro is going to be fine. 16 08 or macro is going to be fine. It's really finding the lenses that you like at the focal lengths that speak to you. Just because I like cheating with a long lens doesn't mean that you have to like it or you have to shoot with a long lens. I would honestly recommend experimenting with a couple of different ones. It's really easy to rent lenses if you're not entirely sure. So rent a couple or borrow a couple from a friend and try them all, and you'll eventually start finding out what speaks to you the most. Linds wise All right. Next question. Question four. Is there a reason why one of the categories for homework is not kick cutting or does that whole interparty? The reason why Kate Cutting isn't a category on its own is because all of the reception categories are so much bigger. First dance parent dance. They have multiple moving sections. Toasts You're looking at, the person hosting the person, being toasted, moving around. Cake cutting is two people standing in a cake. So for me, if you're gonna turn in something for the cake cutting, just admit it under party coverage and you'll be good. Our expression. I started using off camera lighting at my receptions, and I recently bought a flash under. Do you use the soft box version or justice? It comes as a regular bounce card. I put it in a corner, directed my flash straight up and used it as a large balance card and rounded a touch. It looked terrible and it filled the whole room with light. I know it's tough to say without seeing what I actually did, but am I setting it up wrong? That's not how I use my flash vendor when I am again, there's two questions in one here. The first question is what I use the Flashman or four, and the flash vendor is Onley used during family formal. It is the only time during the day that I'm going to use it at all. The reason being is because it does spread the light out because it does soften the light. That's what I want for family formals. I don't want that during the reception. If I'm going to put lights up in the corner of a room, which is what it sounded like, The person asking the question did, If you're gonna put lights up in the corner of the room and you first of all if you pointed up at the ceiling, it's going to hit the ceiling and balance down over the entire room. It's not windy concentrated out into the room. And second of all, if you put the flash vendor with that, then you're feathering it out even further. So essentially, what you're doing by putting lights in the corner with the flash vendors on them is showing, throwing a bunch of light up into the ceiling and having it spread out softly over the entire room, which is the problem that you're having. If I'm gonna put a light up in a corner, it's not going to have a flash vendor on it. It's going to be, if anything, I'll put the stuff in omni bounce on it, but sometimes not even that it's going to be at a low power, and it's going to kick a concentrated beam of light across the room, not a big wash of light. So I would recommend if you're putting lights in the corner, take that broke Flashman or off of it, because that's not going to be. It's not going to allow you to do what you're trying to diet. Next question. Um when you need to readjust your exposure in order to have a little bit of a brighter background. Which parameter do you just do? You adjust okay when you need to readjust your exposure in order to have a bit of a brighter background, what do you adjust the F stop or the shutter speed? Or it just depends. Um, I can't answer this because I'm not entirely sure what's being asked. Are you asking about images shot with flash? Or you talking about images shot without flash Andi to readjust my exposure, changing your F stop and changing your shutter speed. Two completely different things, right? Like so if I'm shooting a first dance and I am realizing that I'm not letting in enough ambient light and I'm shooting with an off camera flash, I'm going to bring down my shutter speed because burning down my shutter speed will allow me to have more ambient light in the image. If I change my f stop, it's going to completely change the look of what I'm shooting right. Like if I go from F four to F 28 it's gonna completely change the look of the image changing the shutter speed is simply going to change the ambient light. So hopefully that I'm guessing that might be what you're asking. But usually if I'm cheating something like a dance or if I was shooting something at a reception, the first thing that's going to change is going to my shutter speed. The second thing that will change will be my I s O. And then the third thing would be the f stop. But that's not that would feel kind of like a distant third. So I hope that helps answer your question. Okay, Back to my little document here. Um, all right. I'm still having trouble with golden hour shooting and the haze. I can't seem to get my assistant in the right place with the reflector to block the light coming into my limbs. It works at first, but then the sun gets so low, it's just impossible to block the light. What am I missing? Well, when the sun does get really low, it is going to be very hard to block the light using a reflector. But when the sun gets incredibly low, that's usually when I do allow it to come into my lens and called a little bit of haze. I actually really like that look, but I'm 99% of the time that I'm outside. I'm shooting in bright light. I'm not having my assistant shade me with a reflector. Usually I'm trying to find somewhere for myself to be so that I'm going to be shaded. I'll either be in the shadow of a tree here, in the shadow of the building or in the shadow of a car or in the shadow of a single tree. That's the sort of thing I'm going to look for before I look. Toe have my assistant there with a reflector, so I hope that helps in in some way. Also, if you're having a lot of trouble with with Hayes, sometimes that's because you're not using the lens hood on your lens. I always have the Linds hoods on my lens. I love them. Um, question nine. This may have already been asked, but consumes in cover how she shoots the first air's, um, and again, I'm not trying to be disrespectful. I covered this a bunch of times. That would be glad to cover it again. Hold one second. I wanna show you something way Got a little extra time. We don't have a ton of questions. So when a bust open my gear bag here since sitting right next to May. Okay, not that bad, the other. So if anyone wants to know exactly what's in my bag, if you go to my YouTube channel, um, just search for Susan's tripling photography on YouTube. I have an entire video where I bust open my bags and show everything that's in them. But they give you a little lesson on how he shoot first and first have to find where Sandra hid everything in my bash. The's bags are really tightly put together. I'm sure if she's watching this, she's rolling her eyes that I am moving things around. So how? I shoot first dance, first of all, and these were made by photos. PH O T T I X. I have a receiver and have a transmitter. Okay, Receiver goes on my flash like so just goes right into the hot shoe, lock it on nice and started from there. We have a moment. A pod. It is literally nothing fancy. We have the ones that hook out like this instead of their ones where you can twist it out like that. This is personal preference. I sent Sandra to the cameras or and said by the one that makes you the happiest when we lost ours, by the way I found our Sandra. If you're watching at the bottom of the photos to see there's a screw and there's a screw at the top here, twist them together like so. So seeing how you have one main keys where it goes from the sea and shake it around Mono pod phonetics to flash. Now, stove anomie bounce comes with fire. Or if you're like me, you lose it repeatedly and have to continue to buy them This thing that looks over the top of the flashy Put it out of the way. Because if this is on and then we put this on, then I'm double filtering the light. I don't want to do that. So just pop this guy on here like so next step s t nine battery Pat. It opens up like this. It takes eight double A batteries in here in here, back together. Open it up like so strap it onto your flash and Monakhov set up here. See, now it's all one big thing. Plug it in front, like so this other thing that I mentioned right here this transmitter this goes on top of my camera. So the way I shoot the first dance, usually my off camera flash, it's always okay. Back up. Off camera flash is always set to manual. I know that there are products right now that will let you shoot, Teach, yell through your off camera flash. That's not what I want to do. I want to shoot manual so that I think control what it looks like every single time I pop the flash. So the flashes on manual it's usually on 1/4 power or eighth power, depending on the size of the room. And that's something that I used to determine myself. But now Sanders work with me so long she can eyeball a room and know exactly what to turn it on to. The room is bigger and the dance floor is huge. We're gonna start 1/4 if the room is smaller and the dance where small, we're going to start it. It really depends. There is no hard and fast rules you have to start learning how to eyeball the room that you're in and figure out what your flash car will be. Now my husband uses the A pocket wizard because he's got a little thing that you can put on. Top of this thing will put something on top of his camera and something goes on top of that that will allow them to actually change the flash exposure on his camera. I like the photo exes. I like their reliability and the only thing we need to do to change the flash power Sandra and holding it up like this and I'll look at her and I'll say like I'll do like that. She'll pull it now. She'll push the button twice and she'll put it right back up. And then we've changed our size. So what she'll do? We usually angle it a little bit like so. Nothing too crazy. And she puts it up as high as you possibly can. I put her in one place. Usually it is the corner of the dance floor by the speakers. Sometimes it's the corner of the dance floor. Out to the crowd really depends on what I want my backdrop to be she will stand in one place, Then I will move around. Usually all start standing next to her so that the light that she's holding becomes my mainline. And then I'll move so that she's a degree angle formed from me so that the light that she's using becomes an angle of light and then all moved to the other side of the dance floor from her so that the light that she's holding becomes the back like the main point there is that she stays in one place and she doesn't move, and I'm the one that moves around. My camera has no flash on it at all. It's usually the 72 200 or the 24 to 1 20 depending on the size of the dance floor. And I try to keep my shutter speed as low as possible to bring in ambient light without having ghosting or motion blur. Usually, I'm somewhere between F 28 and at four, and whatever I s so it needs to be so that is how I start shooting a first dance, and you're lucky that I had my bags here next to me so I could show you exactly how everything was set up. Um, all right, so next question. All right. Um, well, it area. How do you shoot sparklers with the bride? I've been practicing this, but I can't seem to get it just right. I seem to remember that we had a question almost exactly like this last week, but I'm more than glad to enter it again. Shooting sparklers really depends on the scenario that I'm in. Ah, lot of times, nine times out of 10 I'm going to try to work with the ambient light of the sparklers, if at all possible. So, for example, the last couple of sparkler exits that I've had the exit took place right outside of the venue. And there was bright lights coming from the venue. There were outdoor lights. There were a lot of guests with a lot of sparklers. So I was able to really jack up my I s O and still shoot at a shutter speed that did not blur my clients. And she didn't. I s Oh, I'm sorry. She didn't stop so that everybody was in focus and it worked out great. But sometimes you're outside with like poor people. And the venue is really dark on so on and so forth. And you have to bring in a little Indian light. I know a lot of people will use a video light, but for me, if the sparklers are not strong enough to light the seen the video light is not going to be strong enough to like the scene. So we will go back to our trusty friend, the off camera flash, and we will work with him. So if I'm going to be using the off camera flash, a lot of times will start it at a much lower power. Usually not quarter, because that seems to really overwhelm the scene. We'll start off about eight power, and then we'll use it much in the same way that we would use it for toast. Where if you've got need something to hold up, let's say that this is your scene, right? And your bridegroom, we're starting here and they're walking this way, right? Like we're outside of the venue. They're coming here, and guests are lined up on either side with sparklers. I'll be here where my hand is and my assistant will be over here with the flash. The only thing that we're trying to do there is give a little kick of light off from an angle so that it eliminates the scene without looking incredibly a natural. All right. Next question. I just showed a leading where the groom is uncomfortable with having photos of himself online. How do you handle this? Well, I can handle this in a couple of ways. First fall. It depends on how badly I want. I Generally, it depends, and it's It's a case by case basis. If it's just another wedding, just another venue and it isn't gonna be anything crazy, your fancy or whatever. I will compromise with them and I'll say, Okay, I will block the wedding, but I'll only put up pictures that are from a distance or that show anyone else but you or that only show the decor or I'll run the pictures by you before I go on. You could go that way. We're really you know, they don't want you to show them to anybody at all. You could always do a buyout of the rights, but usually just for your average everyday person, that's a little extreme. You know, that's more of like a celebrity case sort of thing. I'd say about once a year. I have clients that are really uncomfortable having pictures of themselves online, for whatever reason. And then I'll say, You know what? I won't put you on line. That's fine. But I do retain the ability to use your images for competitions, and you have to understand, if I do use them for competitions, they will end up online. But they won't have your name on. And for most people, that's usually enough. Honestly, for most people, it's usually enough that you just run the images by them. But you sort of have to come to your own place of comfort, um, about not putting the images online if that something that you're willing to do or not willing to do at 50 weddings a year. If I can't put one of the weddings online, I usually don't really care. But if I was shooting three or four weddings a year, that might be a much bigger deal for me then. Then it would otherwise Okay, I have trouble with the A C three for the Pocket wizards and it seems to only work on T T l. Any ideas and two stops below ambient in vexes me. I just don't get it. I get the concept just not how to do it. I can't speak towards the A. C three is for pocket wizards. I used to use pocket wizards. I had trouble with them, were locked with the reliability. I know a lot of people who use it absolutely love them. And I completely understand why. Because they are good products. I just reached a point where I needed to buy a couple more pocket wizards. And at that point, I decided to switch over to Foa ticks because I heard a lot of really great things about the reliability of those products. So I've been very happy with them. I've never had a single problem with them. And I am a huge, huge fan, and I'm not paid a single time to say that I I really do like their products. Eso as faras trouble with the 80 threes. I can't help you because they don't use them to stops below ambient. It vexes me. I just don't get it. I get the concept just not how to do it. The concept is super simple. And when a lot of people get stuck there, it's usually because they're overthinking it. So look at the senior going to shoot, right? Like, look, a a a family that you're going to shoot outside and pretend you're not going to shoot it with flash, you're just gonna shoot it on manual or aperture priority. However you go about doing it so you'll take your exposure and you'll say, Okay, if I'm gonna properly expose the scene, this is what I would shoot it at. Okay, so that's a good place to start. Then what I want you to do is under expose it by two stops, you know, somewhere between the stop and 1/2 in two stops, so that if you did shoot the image without a flash like that, it would be under exposed. Then you're going to use your flash to fill it back in. And I know that this is something that you know a lot of people struggle with. And for a lot of years I didn't understand how to do this either. It didn't really make any sense to me. Um, you know, If any of you are looking for actual hands on help with this, my husband's workshops, he spends an entire day teaching people. How do you splash flash outside? Slash Inside for formal slash her stances. So I've seen a lot of people who were really struggling with this concept come to his workshop. And then after the hands on day with Flash, they understand not only that, but much more, and I learned how to do this from him. He's I mean, he's amazing at this, So number one, it might just simply be overthinking it. What you're trying to do is dark and down your original image and use the flash to fill it. So I hope that that and in some way helps you get a little bit closer. All right. Next question. Who? I moved my questions. All right, Susan, do you use a flash on your camera as well during the first dance toe Act A spill? No, I don't question 14. I know this with disposable batteries that I have a long recycled time. It's kind of embarrassing when a guest asked for a photo, and I'm still waiting for it to recycle or not being able to take multiple shots. Does the battery pack improve recycling time? I've been thinking about renting one to see if this improves my reception photos. I just wanted your opinion. Yes, it absolutely does help with recycled time. And I have noticed, although there is literally no scientist have no scientific data to back this up whatsoever. When I use disposable batteries, we find that are recycled times actually really bad. When we use rechargeable batteries, we find that are recycled, Time is actually better. And I don't know if anybody has any sort of data to back that up. Batteries. These are the rechargeable batteries that I use. E could find them their power Excess power X. That's what I use these power exes and find that, you know, if I just use regular, everyday Duracell that I buy the drug story, those don't seem to recycle very well. But if I used these Power X is first of all, they seem to recycle better. And then when I used the external battery pack, they were cycle even faster. All right, Susan, I'm not sure if you do this, but how do you get that affect where you freeze the couple with slash What? Have the background lights in motion? I always get ghosting of the couple. Um, another question. I'm not entirely sure what's being asked. Um, uh, if you haven't it is that you're trying Teoh shoot like this. If you could turn it in for the homework and turn it in with your exit data, I, um I can help you out. I can't tell if you're having a try. If you're having trouble with your exposure being too long or her shutter speed being too slow or what? So if I could actually see an image where you're having this issue, hopefully I could help you get past this issue. All right, Next question. I noticed that my photos tend to have some grain when shooting in a dark room with my flash. This is what I'm shooting moving subjects. A not sure if it's my camera settings or flash settings. Do you set your power first and then your manual camera settings? Um huh. So, having grain in your photos when shooting in a dark room with your flash those things don't seem to sound like they're related. The only reason that I would notice that you would have grain in your images if you're pushing your eyes so incredibly high, or if you're either blowing your exposure, like if you're really under exposed in your trying to bring it back in post processing afterwards. Shooting moving subjects with your flash those things don't add grain toe. A final image to answer the last one is, Do you set your power first and then your manual camera settings? I do set my power first, but it's more of a hand in hand sort of thing. So I, um, So I'm gonna look at a room right, and I'm going to determine that that my flashes to be an eight power. Then I'm going to set my camera settings as well, but it's not. Oh, I figured out I'm going to be a eight power and now I'm going to set my camera settings Accordingly. They go hand in hand like if I go into a huge room and I look at the room all set. OK, Flash quarter power I 1630th of a second at four. It all comes together if you're having grain when shooting in a dark room with your flash. Those shooting in a dark room with flash isn't going to cause brain in your final image. They're not related. So the question before the effect we freeze the couple with flash, but have the background lights, emotions they think they might be talking about rear sink flash. That's not something that I really that's not something that I do often or work with. Almost every guy I know a lot of people will use were, say, flash when they're working with, like things like a sparkler exits or trying to do ghosting effects with sparklers. But that's just it's not really something that I use again. Back to that question. If you are having issues with an image that you're trying to shoot with using Flash, I would like to see it so that I could speak to exactly what the problem is. All right. Next question. Hi, Susan. When doing ringing jewelry shots near window, will you put them in the light that is directly coming from the window. For example, if there is a bright ray of light coming through the window, will you put it there even though it might create stronger shadows. Have you put it out of the direct ray of lights and the delighting is more even. It really depends. Uh, it depends on the look that I'm going for with the final image. Sometimes I'm going to put it directly in the strong beam of light because that's what I'm looking for. Sometimes I'm going to put it right off of the beam of light into the sort of softer area, because that's what I'm looking for and you are right. But if you do put it in the beam of light, you're going to have stronger highlights and stronger shadows. But sometimes that's the effect that I want. So when you're in a situation like that, you just have to determine which affected you want and then go in that direction. X question. Do you carry extra camera batteries? Right on. You had the bride on Saturday, grab a guest in motion to me for a photo of my camera. Battery died and my assistant was across the room. Yes, in the bag that I carry with me, which I don't have here it's downstairs. I haven't undefined bag. It's actually technically the way shooter, but I wear across my body. I'll post the link in the group later today if you guys want to see it. But in there it's got to zippered compartments like If you lift up the if you're wearing the bag and you lift it up on the inside, flap their to zippered pockets. And then there are two couches. If that makes any sense in one zippered pocket, I have money. My driver's license cards. Uh, your plugs fantastic. Also like valet parking tickets, business cards that other you know, like vendors on the day have given me their business cards. I'll tuck them in there. The other zippered pocket gets my used cards for the day, Um, cards that I have a spare cards go in the zippered pocket with my wallet and everything like that down in the inside flaps. I have my phone. I have four extra double A batteries and I have an extra camera battery, just in case. All right, Next question. This last wedding, I tried some off camera flash during the reception with only a little success. Sometimes I felt it wasn't strong enough, even with the flash on full power, because the dance floor was so large. Do you ever have Sandra stand more in the middle of the dance floor? Other times I didn't like that. I could see the flash to the sides. But if my assistant lowered the flash, then it wasn't bright out. Um, I need to see pictures from this scenario. I never shoot my off camera flash on full power during a reception. We never even shoot it on half power during a reception. And that's in the biggest of the big, big ballrooms that we shoot in. So I'm trying to figure out why it wasn't strong enough on full power, because on full power, even in the biggest venue that I can think of here, it's going to completely blast out the entire room. I'd like to see what you're on camera settings are so that I can determine if you know, maybe you're eso isn't high enough. Or maybe you shutter speed is too high. I need to see examples from something like this before I start going and giving advice as to what you should change. All right, Next question. Can we have a second critique where we attempt to correct the criticisms in the first pretty. We have a before and after comparison showing how we tried to fix the problems noted. Unfortunately, the mentorship is not really set up to do something like that. We're critiquing the images in month two, and in month three, we're moving on to work low. You are always welcome to post images in the Facebook group, but we're not having another live critique of of the images because that's just not the way the months are set up. All right, it's question. I'm following up with a question that I asked last week. I mentioned that my camera is too slow to catch for handheld details and you're not sure how that is possible. Basically, my maximum usable I s O before the image degrades is 12 50 with a handle non image stabilized, Linds, where might have stopped the F 16 or so I and I, sometimes in deeply shots at 15th of a second hand held depending on available like, um, if the person who has this question is still there, if you could come back in and follow up, I'm not sure you know this does clarify what your camera problem is. But I'm not sure what the question is. Um, yeah, that it's just a statement. It's not a question. So if you could follow up on and type in the chat box and let us know what the actual question is, then I can refer back to this information to answer your question. All right. Next question. I'm struggling with all the movements between scenes, as I try not to miss any moments. I tend to want to capture everything. So, for example, I want Teoh capture the bride driving up to the venue than entering the door, then walking up the aisle. But in doing so, I missed the groom's expression as well as the crowd in the bridal party. Except and there is absolutely no way. No matter how many shooters that you have with you on a wedding day that you're not going to miss moments, you cannot, as a wedding photographer, reasonably expected yourself to capture every single moment that happens all day long. For example, there is absolutely no way to shoot the bride being out of the car. The bride coming in the door, the bride coming down the aisle, the expression of the groom the expression of the mom of the groom, the expression of the bride of the groom in the expression of everyone in the bridal party at the same time, there's just no way. Sorry, You guys. My husband has entered the room and is dancing around on the other side of the camera. Like it? Absolutely. It your live right now, by the way, uncreative live. Is he? He's doing ballet. In case any of you are wondering. He likes to come in and harassing me. Fall. I'm work. I'm sorry about that. I try not to look at him. You wanna come say hi, but no. Okay. All right. I'm so sorry. I did not mean to completely crack up there, but my husband's weird. I'm sorry. Go back to the question. I understand the desire to want to capture every single thing that happens. But there just is no way to capture every single thing that happens for things like the bride coming down the aisle. You can't be outside with her at the same time that you're crouched down in the aisle shooting the processional. So that's when I will have Sandra outside taking pictures of the bride right before she comes down. But there's no reason why you can't you know, for example, when the doors open, shoot the bride and shoot the group and she his mom, then shoot her mom, and she brought a part of them, turned back to the bride's bang bang bang Ben. Now I couldn't have done this two years and or even three years in because I was thinking about every single shot that I was making before I took it. But now, as the years go by and as you get more experience, you'll realize that you can multi task, much better photographically. Then you could be your prior. So, you know, stop beating yourself up thinking that you have to shoot the reactions of every single person at every single scene. All you can do is the best that you can dio Um, okay, back to the question about the person who had the camera that could not shoot above eso 12 50. Advice on how to incorporate tripods into the workflow of macro shot on the day. Listen, if you need a tripod for your macro shots, bring a tripod and use it. There is it's not really incorporating it into the workflow of the day. Bring it out when you need it. You put it away when you don't. I had a tripod. For those of you who have watched you on Creativelive multiple times, the story of my wilful tripod being stolen experience is still very bitter. And now I have a new tripod. It's nowhere near san see on it's still super better, but I don't really use it that often. Sometimes I'll bring it out for room shot, sometimes over get out or something specialty. But I don't use it for any sort of macro worker detail work. But that's not to say that if you need it for something like that, by all means, you should absolutely use it. All right, Question 23. I know you only carry one camera, are in your hand at a time, But have you ever used a rapid strap where the strap screws into this tripods truth, any in the bottom and things by your hips? I had my camera fall, my rapids drop on the weekend, and now I'm not sure how to carry two cameras on me at once. If I don't use that, and I don't have an assistant to carry my second camera. You can put two cameras on your shoulder at once. It might be a little awkward, but there's, you know, so there certain times during the day that I didn't have two cameras on me. I have two cameras on me during the ceremony, and they're not on anything other than a strap like I have these donkey gripper straps. I don't like the straps that come with the cameras. I think they feel sticky and robbery. So I have a donkey gripper. It's got a gripper side, and then it's just got a kind of canvas Seaside, and you can also quick release them if you need to take it off a quick release on the side. I literally never released ever, but it's there. Want it? So that's what I do. But I didn't throw one on one shoulder and one on the older other shoulder, just like purse and run off and and go do it. I don't like my cameras on my body. I don't like them hanging from my body at all. I don't like them across my body, and I always felt super stupid, putting them on export a system. I don't like them hanging upside down. I'm I'm constantly being tangled. I don't want them on my hips. I just want to carry it so that I can put it down when I'm done. Um, next question, I heard you, Shay, that you shoot at 1/30 of a second. I have trouble with Blur and anything slower than 1/100 of a second. What am I missing so that I don't have blur? That is an incredibly and I please believe me when I when I say this, I'm not intending to insult anyone but that that's a very kind of 101 super basic question. There is no solid answer to answer that question, partly because there's about eight different questions in here. Now I'm going to shoot at 1/30 of a second more often than not when I'm using flash when I'm getting into slower shutter speed. That's because I'm using either flash on camera or flash off camera to freeze my subject. I've been shoot at a slower shutter speed that I would without flash when I am using flash, because the flash is freezing the subject. I can shoot at 1/30 of a second using my 72 200 provided the clashes strong enough to freeze my subjects like that. Now, when I'm shooting without flash, the shutter speed at which I am comfortable shooting depends on the length of my limbs. So if I'm shooting my 85 millimeter during a getting ready, my comfort shutter speed is 160th of a second. Anything slower than that? I worry about getting blur, but I can't shoot my 72 202 100 at 100 160th of a second. Because the lenses too long I'm going to shape. So I highly recommend I'm not trying to tell you that I'm not gonna answer this question, But if you're having trouble figuring out your appropriate shutter speeds for your focal lengths, I suggest you get up Google. I can post an article about it later, but there is a correlation between shutter speed and focal length of the lens. But that Portland Station sort of goes out the window when you start adding in flash. So if you're shooting, you know, having trouble with blurred anything slower than 1/100 of a second and you're not using flash, I would look towards the lens that you're really isn't using. I would look towards this scenario that you're shooting, and if you're having trouble shooting at anything slower than of a second with Flash and you're having blur, it can depend on the ambient light in the room. It can depend on your I s so like there are so many things that can go into contributing to that problem. But there is no one blanket answer to what am I missing? Next question. The flash usage within receptions that you were suggesting sounds good for indoor receptions. But what about outdoor receptions when there are no surface is to bounce off? The flash does not bouncing the flash off of anything. When I'm using this off camera flash here, it's not bouncing often anything. It's not meant to be bounced off the ceiling. War off of attempt. It's the exact same lighting scenario that I'm going to use fine outside or if I am in a building that has 100 ceilings or if I'm a building that has five foot ceilings right like it's the exact same principle. No matter where I am, I'm not looking for a surface to bounce it from. Next question. I just signed up for a bridal show. It was expensive, and I want to maximize the opportunity because I can't do a zillion bridal shows or add or anything tips. I feel like we get this question almost every single week. Andi, I've been asked it a bunch of different times. I don't do bridal shows ever, and the reason is because they are so incredibly expensive. The number of weddings that I would have to book to make that cost work while has never made sense to me when I was living in Tallahassee and I could be brought over is for 500 bucks. That's sort of a no brainer. But up here in New York, when they're anywhere from to $5000 I would have to book so many weddings for from it to make it worthwhile that I simply don't see it at a reasonable source of a reasonable usage of my advertising dollars. I I can't give you any tips. It's been 10 years since I've done Ah bridal fair, and I know that they change every single year. And for me to give you any tips on how to go out there and maximize your experience at the bridal fair, I feel like would be really irresponsible because it's not something that I do myself. I don't even know what people do for Booth on bright affairs anymore. I'm not sure this might be an excellent question to post in the Facebook group, because I am certain that in the group there are people that are having good experiences with bright alters or at least more recent experiences with broad affairs, and they might be able to help you out. But unfortunately, it just isn't something that I've done for a really long time. Um, we've got a few minutes left. I wanted to hold and see if we had any questions left at all before I send you on your merry way. Now, guys, this is the last week that you can turn in homework. I have toe have your homework by the end of the day, this upcoming Friday like Friday of this week at the end. Let me get the exact date for you I have toe have your homework by midnight Seattle time on Friday, the seventh. If you send it in after that, I'm not going to be able to critique it. You have to understand that on our end we have hundreds and hundreds of emails coming in with hundreds and hundreds of photographs. We have to make sure that they're all properly downloaded. I have to make sure they're all put in my keynote presentation in a way that looks beautiful in a way that you guys can see it, and I need to give every image the respect that it deserves. And I cant do it if I'm frantically trying to do it the night before. So if you look in and you look at the frequently asked questions if you look at the documents about this month, homework is due on Friday and it's homework for this month on Lee. All of this is shooting. Homer, this isn't for a month One. This isn't jumping ahead for anything from 13 I want to see the images that shocked. So I'm looking here. I don't see any other questions coming in. You've got the rest of this week you've got a Facebook group, you've got each other. Get out there and get shooting and turn them in for me, and I will see you guys live in a very, very brief period of time. I am going to jump ahead and assume that we are not going to be having any sort of office hours next week because this time next week we're all going to these live together for me, critiquing these hundreds and hundreds of images that I have been seen. The work that you guys are doing is good. I don't want anyone to feel discouraged. And so please keep shooting. The Facebook group is there if you need it, and I will see you all live from Seattle next Monday. And there is typing in my document. Wear having issues with the chat. Okay, um, in one second. So for those of you who are going to be joining us sex Monday, I am certain that you're going to get an email from Creativelive at some point in time this week that is going into detail, how to get back into that live room, how to get your questions in during that live room it is going to be a very similar experience to what we did last time on the live day for a month, one where you will be able to watch me like I'm going to be able to ask questions live and you know it is during a Seattle time. So it's 9 a.m. Seattle time until whenever we're done that day, and hopefully it will continue to lose that day. But if you cannot be there that day, the video will then go up on your course page for you to download and look at in any point in time. We're gonna go ahead and stop here now. Any questions that you have, please hold them until next Monday. Please get your homework in and, um, when you are turning the home work in, a lot of people have been emailing me with specific questions without images attached like, Hey, can you teach me how to shoot first answers And the homework isn't isn't for that like the homework is for sending in the images for me to see. So if you do have questions, if you have questions about things you're trying to shoot that aren't working hold those questions so that we can answer them live on Monday and it will really help everybody out for the homework. I just need to have your images turned. Then they need to be sized to 12 80 x hold On the longest side. A lot of people were saying they were having trouble sizing 12 82 7 20 because it crossed their image. Don't worry about that. It just needs to 12. 80 on the longest size. I will get it in a keynote. Make it look good. I promise. And I will see you all live in Seattle next Monday. Bye, guys.