Wedding Album Reveal


High Fashion Wedding Photography


Lesson Info

Wedding Album Reveal

Let's look at a couple of before and after shots over there where sam has color corrected and taken out let's have a look at what she's done here helped out a little bit with darkness under the eyes and the shine on her for it has been fixed very nicely they so the shine on it for him as well as he has a listless listen hans tw frown lines at the top day and obviously nicely color corrected and exposed properly over there remember do you remember that I shot it separately I had the had the fabric shot separately so we could add it on to the sides there and I think it's done quite seamlessly there and at the bottom he is now standing on the fabric where is opposed to the other place other shot he was standing on the floor there we go that was shot with the l e d light with the purple joel the blue gel on the led light and we put it onto tungsten white balance to make it even more blue and the background has bean changed and enhanced because I just wanted a little late I'm going to show ...

you on image from antony friend where I got the inspiration for that shot from that there was antony friend that the friend of mine who's a fashion photographer in new york so that was that you see that image over there that was when we had the soft box on the arranger rx firing to the back wall and wrapping around her beautiful light uh there wasn't even any light from the front remember that nothing from the front it was just like wrapping around her there we go nice color correction we've taken her clothes off a swell with the crop so she looks like she's not wearing anything if you look at the other shot she's got her top and hit her black top is just coming in to the image over there okay so now we're moving on to the layout of the album and we're just going to go through this page by page terms of the layout ofthe her off her album bearing in mind that obviously we're not shooting everything you know is not a whole lot that that was shot and you can see the different variations I think that's also very very important terms of the variations off the images that we were putting together like that I see our cameraman even made it into the album d'oh yeah so just to give you some sort of idea as to how it would work with regards to a final album and I think we've got some amazing night shots coming up after this it's hope so we've got dancing still that dancing was pretty cool look how proud moments in the background the way go oh yes yeah and I think we could dexter coming in over here all right so that is the final layout off what we shot off what was available to us you know that the engagement album that would be it I mean it's not going to get any better than that but in terms of this over here let's just go through each slide as uh as I would um in terms of the storybook layout even though I shot the guys in the beginning I'm not goingto open my story with guys it's all about the girl in the beginning and then I'm going to bring in the guys a little later because you're not expecting to see guys playing on the beach as the opening shot for a wedding story so as you open up the book you've got everything that defines her this is all about her, you know? You know um you still building a little bit of tension by not revealing the couple straight away? You're introducing the theme the color palette all that kind of thing as the storybook starts and can you see how you can't do this of you you know, shooting burn you can't do this so there's that gorgeous ring that is uh probably worth more than my house and then the story over here in terms of her getting ready there there are images off her bridesmaids getting ready she's having a makeup applied and then on this side of the page that's the culmination ofthe what it took that's that's the end product of what happened from this side over there as I'm going through, you guys can stop me if you've got any questions as well. Okay, turn the page over here some really nice negative space over there, and I really like this in terms of how this would lay out over here, and that was shot up at the top remember, with the backlighting coming through and around her and using the veil is a little bit off a tunnel, you can see that this image has bean de saturated a little bit and a little bit more. A little bit of a blue cast has come through, but it was done on purpose. That's why it's big in a double page spread? It was done on purpose, and then over here, there's the dress that we have that we hung up, we shot three shots with that, and I'm sure that that didn't take her five minutes to do because the angles were all wrong, and so I'm sorry about that, but there is the dress that that was that was hanging in a three shot composite image to show you that there is the dress, and here she is, putting on her earrings are really like what's going on with the double exposed not double exposure but the beveling in the mirror creating some nice effects over there and then over here again sort of doubling up the hearing as well and then these images were shot after the wedding however I probably would have liked to use them at the beginning ofthe the wedding just to show you in terms of the story layout this is what I would have done probably done things like this off her at home with that heavy backlighting nice one for the florist on the left hand side and then in context we've got her with her flowers on the right hand side showing the back of the dress really nicely showing the detail in the dress the dress designer is going to be super happy with that the jeweler is going to be happy with that hair dresser I can't reiterate that enough that I'm shooting for so many different people in so many different things going on inside my head then over here that image is really, really cool I don't think that I'm that ecstatic with the open space on that sign. However this is my first look and I would say to sam sam do we have something to go on that side of the page or could we potentially maybe drop in that floral? We shot the flowers separately so dropping some some flowers over there drop the transparency dawn and I will I will post that image to my facebook after this this show to show you the kind of thing that I'm talking about we maybe we could just put that slight little floral um interest in the back there okay then the expected shot this is the shot that mom wants to see this is a shot that the makeup artist wants to see the hairdresser the everybody it is your you have to get your safe shot first and then these one light hollywood lighting with the men photo uh led and really nice options in areas I mean that was a gorgeous preparation suite it was a really nice space to shoot in but I'm showing you what you can do and your background you can make it dark if you wanted to bring that light close to her so you're exposing for her and the fall off is going to result in the background being quite dark and there we have a compass it shot off the flowers it's almost shot in a way sorry it's almost composed in a way that it's supposed to look a little bit surreal some flowers are bigger than others it's looked it's made to look like it's a bit of a mish mash off a compass it and you can see that that it was taken from it was taken from those three bouquets of the flower arrangements that were over there then moving on to create this uh story over here remember we spoke about his hands that were a little bit nervous we're telling a story we're telling a story there years in the front of the church his best man or his groomsmen is in the background and you know, he's having he's having a good time he's a little nervous on the one side of the page top left and image bottom right and image he's having a nervous little giggle and you can also see that you can create images like this anyway, you know if you want images for your for your portfolio if you need if you need images to add substance to your to your website you can shoot stuff like that that it looks like that it's had a real wedding and you know, there's a lot of ethical debate surrounding, you know, shooting images that weren't at real weddings and, you know, giving people the impression that they weren't a real winnings I have images like that on my website I'm not giving people the impression that they were shot at real weddings I'm giving people an insight into my vision that's what I'm doing you know, it's it's not you've got to change your mindset to that this is what I think waiting's should be like not I'm trying to fake a wedding this is what I think it should be like you know and I think if you do it in that in that way with that mind set that's going to be a lot different so there there he is looking at his at his bride walking down the aisle she's walking down the aisle with dad and dad was very, very proud of what we had great models right dad was very proud of and I think we got them right into the moment and there we went. We've got a whole lot of images that we can choose from right with regards to dad taking the veil off of maya's you know, taking the veil off from maya we had a lot to choose from because of that back button focus we could shoot as many images as we wanted to really okay then that great shot with a hand over do you remember that it was over exposed and we recovered from that because we were shooting in raw were able to recover from that and I really like the leading lines that go into him and I like dad's cufflinks there too because at that is representative ofthe dead. So you know that it's dead and you know that it's a hand of and you can see it's genuine as well because dad is really happy that he's handing his daughter over to this lovely man because he saw the gorgeous pictures in the engagement okay then let's have a look at this now we're telling the story with regards to what it feels like to have your vows red said to you on dh then if we look at those images I mean there was shot in a tight space that shot over maya's shoulder off shown laughing what is saying his vows about how he's going to work so hard for her for the rest of his life? You know that's the studio that's this studio in the background and you know you can't really see that because of the shallow depth of field from the twenty four to seventy two point eight there we go slipping the ring onto the finger shots off the mom and dad watching that's such a cool image of the two of them watching their little girl get married getting a wider shot off sean putting the ring on to maya's finger and then the all important first kiss you can see from my experience you can see in this image here that obviously they were models so they we're a little bit uncomfortable with the kissing but just from body language and things that I've learned uh sean wasn't too worried about that because his eyes are closed, my eyes were open and nobody trusts anybody that kisses with the eyes open, so just be aware of that don't go and kill somebody with your eyes open all right then we have our aerial shot of what was going on with the with the ceremony we gotta cool cameraman over there thank you for that and there's a the aerial shot that the off the whole you know, the church ceremony that was going on right inside of the page here they come walking out of the church bang bang that's a short that's a short I'll write I mean, they walked like maybe twelve feet and I got what eleven, twelve shots to choose from so that that worked really, really nicely and told a little bit of a story there what? Just one little thing that I wanted to say you and I do understand that what creative life put together here it was incredible andi obviously there is budget involved but what we did over the last couple of days you guys can do this you can set up stuff like this that I mean that that is, you know, it's completely staged but if I had that in my mind book nobody's going to question me you know, people are saying with the ethical reason, you know, like it's not a real wedding nobody's going to question you I've never had somebody said to me, you know, I don't like this because that's not a real wedding they were like, wow, that's a really cool shot, you know they goingto resonate the image is going to resonate with them and that's why I'm going to be drawn that's what they are going to be drawn to me and there we've got your mental p schott where you going to make additional money on reference for for the moment, for the grant and for them as well? I mean, can you imagine a nice image like that in there in the hallway or or in the home and I'm going I don't need to say this every single time with regards to hair, makeup, flowers, jewelry every single opportunity I'm going to get I'm going to give those pictures to the other suppliers question no question okay then the congratulations you guys have never looked that good, right? So we've got a look at you you really loving it they're showing the love you and crying about it now look at you know it's such an emotional time wasn't it? Yeah, but can you see how I'm going? I'm getting that awhile expression from from the people congratulating because in terms of body language when you're congratulating somebody are you expressing happiness for the mistake? Oh you're gonna look nice yourself, you know, if you want to use that as a profile pic there, carlos, I'll get it to you, right? Okay, all right, obviously we're very closer and it's quite tight so this image off the whole group looks a little distorted because they are only twelve people two, four, six a ten, twelve all that was a good kiss that goes back to the right unit days were like how many in the crowd is like to half thousand? So we've got twelve people in this little right going on over here um you know, obviously if there's only twelve p m gonna do it, I'm not going I don't have to go ariel for that, but if we're gonna do a great big group shot, we're gonna go ariel and I showed, you know, it's just really to show you that technique, then over here we've got the bridal party shot off the family and the bridesmaids and the groomsmen and you can see at the top that's just a variation to give me image is that I can use in terms of a choice for that for the layout off the album and then the family shots. All right, we're gonna in putting those up into the into the album like that and obviously the more important people on the other side if, for example, this couple were divorced physical there wouldn't be holding hands in the church, but if they were divorced for the for the parents album for dad, obviously I would just make that a bigger image and that image wouldn't be included and I would, you know, juggle around over there so it's not it's not a huge task to create another album or another because you've got your in design document already there and just very quickly while I'm thinking about that sam does use indesign for her for her layouts and I think I think it is I do understand that there's a lot of software out there that you can you can make albums with I think that you should use what is based for year, however in designed for us works the best because it's totally one hundred percent customized you can use other dragon drop a template type of programs which I think are also fantastic that that they have their merits but you can't one hundred percent customize something, whereas within design you can although I'm a know that the other album companies you know, the other manufacturing companies do have their place, you know I'm not dismissing them completely but in terms of in terms of me outsourcing it to somebody else if I was doing it myself probably but we'll be using automated software to drag and drop images to where I wanted them to be okay all right then the bride's maids I'm goingto put thie bridesmaids individually on the left hand side of the page and then the group shot off the three of them together over there again if we're thinking about future albums and bigger albums and individual albums, I would probably, you know, haven't enlargement of rachel on the one side of the page or even, you know, double page spread with with rachel with kelly herself or so you've got to keep on thinking like that and don't think don't think that there isn't a demand furred, you know, just because we wouldn't just because we wouldn't think about things like that doesn't mean that other people wouldn't want that they're spending a lot of money on the wedding and part of a gift to a bride's maid if they're going to spend, you know, five hundred dollars or a thousand dollars to give their best friend an album from there, you know, as an extra because you can sell it as an extra, you know, if you're gonna give them a five hundred dollar album or stay, you know, it's it's a gift to her best friend, you know, and scott so much sentimental value that don't dismiss that opportunity right then the guy's thie guys looking all suave there and background work really nicely with the with the gold and the, uh and the soft box from the front a while nice post production is sam very cool, really nice regal images starting to bring in a little bit off that fashion element to it and I can you know I wouldn't be surprised if a magazine you know that type of image was in a in a magazine not necessarily a fashion magazine but you know a bridal magazine that had a fashion type of influence very cool there it is way spoke about potentially you know, having a longer uh I shouted and then sam dropped in the because the drapes were they remember the drapes were there and she just photoshopped the other pieces into that you guys are really quiet over there. Okay, well, how about I pull out somebody uh one of the guys from the chat room just said oh my gosh I love his work it's so inspiring andi we're getting a lot of those comments but I just wanna let you know we're we're kind of quiet over here to wait I'm enthralled I I look at these photos I'm like was that here? You know it's amazing what you did with that space and with the work from the set and all that so kudos to you okay? So then it would be sean by himself now we're moving on to the images off the two of them together again the nice expected ones and remember I said that she would always but the serious or the sixty one on the left hand side and then end off with the happy one if you had that the other way around psychologically it's going to be a very difficult visually to look at because you're going from left to right when you when you're reading that as you know in terms of the page layout then we're starting tio lift our game a little bit in terms ofthe variations off poses again hair and makeup is going to be very very happy with that that's starting to get a bit more intimate the dress designer eyes obviously gonna be ecstatic with that as well and now we're going to move on to first dance that smoke from behind look at mom's face we can t we con him in cr assistant shawn I think that's his knee over here right there's his knee over there but that's not going to bother you at all I mean you don't even think about that and the backgrounds probably going to be a little darker I mean it's smoke from behind of the telcom partner yeah I don't think do that at a wedding with the first dance but itjust worked there you know it works really nicely there look how proud dad is in the background that's very cool okay then uh these images over here um shot with the with the led and I really really like the the look and the feel that if that has come from it and I mean this uh as humbly as possible that that just happened for me I was like okay, well you know exactly the same thing a za thought process that goes through your head when you're at a wedding the same thing happened to me yesterday you know like I'm thinking okay I'm on creative live what am I supposed to be doing now? All right let's do this you know and we brought the led through and like I said inspiration came from from my fashion photographer friend and we end up creating an image like this which really came from nothing no just the right the right light and the great post production over there then we were in tartan played and that is uh my good friend call us valentino over there with the led from behind creating that beautiful blue hello effect coming around because the led is daylight balanced and uh the street light from the front was very very orange right? So what's happened there is she's color corrected for the streetlight and the backgrounds gone quite blue so you've got this sort of cross curve thing going on and the there was on the eighty five one four wide open been at one four so you've got that really nice poker going on in the background over there and literally shot you saw we ran onto the street we shot the images we ran off before they for the wild traffic off seattle knocked us over be sure you've got public liability insurance for things like that and then yeah here's shown standing in front of a pharmacy you can see that there's that the symbol with you know the meter no mortar and pestle that over there and we've got the blue the blue light coming from the side over there because we put the gel onto the onto the led and we got a really cool shot over there and then he's right up close next to the next to the sign and I really love the reflection off his face in this shot over here and then the the poster off there was in a shop a shop window so that worked really really nicely there and uh I think just in terms of the lighting it's quite sort of dark and mysterious and sexy and theatrical and it just works so nicely and it's really cool way couldn't do this in film days you know, when we were shooting film it was one hundred eyes so film or four hundred or so foam and I mean I remember just to be a little bit sidetracked I remember we used to shoot have one camera with black and white and one camera with with color and if you were shooting outside you'd roll put your put your film in and you shoot one hundred s o and off you go you're gonna go shoot the chute the images outside and you're about to go into the ceremony so you have shot like twenty images and it's like I've spent so much money on this roll of film because it's like really expensive so you wind it back to just before that tab goes in take that take pop it open take that out put it into your pocket slipped the four hundred s o filming and go and shoot that shooting the ceremony rewind that too and then you've got to remember put that back in the pocket take this one out remember how many years shot but you hand over the front of the lands one, two, three, four, five, six and you know it was dangerous stuff now with the advent of digital we shot that a ten thousand irs oil last night you know, if the mind boggles beautiful the mind boggles even mohr because you saw how fast he was walking like slow down I mean I think she was really nervous about getting knocked over by the traffic but but when we sit okay walk towards us she was like running towards us sonar now you shooting slut like ridiculously low light and you shooting a moving target coming towards you so you know the cameras these days and you guys were handling as well pretty well but you know shooting low light and the moving subject that that looks this one on the right here looks like a like an ad weii brought out the prison that was the great florence prison available on. You can get them anyway, guys, and they're very, very cheap. They just normal scientific prisons that they use at school. Just go online, and you can. You can get them. They pretty cool, and that created that kind of effect that was going on over there, and I think we finished off with that image as a double page spread. So in terms of your double page spread to finish often album with that, there, you're telling the story, you're closing the book. I hope I'm closing the book.

Class Description

Are you ready to take your wedding photography business to the next level? Then join award-winning photographer Brett Florens for a workshop that will help you break out of the middle market and into high-end, fashion-inspired wedding photography. 

This class will teach you everything you need to know about bringing an upscale look to weddings, without interrupting the special moments of the day. Brett will share his complete wedding workflow, insights on getting the shots clients want, and tricks for getting the right lighting every time. 

From night shoots to underwater portraits, you’ll be inspired to create one-of-a-kind images unique to your style. Brett will also cover building successful client relationships and marketing to clients who are prepared to meet a higher price point. 

By the end of this course, you’ll have the confidence to capture unmatched, jaw-dropping images and to take your style and business to new heights.