Editorial Wedding Gear


Editorial Wedding Photography


Lesson Info

Editorial Wedding Gear

So we left off laura and billy's wedding being published the importance of knowing and taking the time tio take the photos that you know you want to have taken, so what we're going to move into now is the gear I use four styled shoes I went through the gear that I used extensively in the first course and I went through all of the lenses that I used and why I use them, but I don't use a full run of lenses when I'm shooting a style of shoot because I don't need certain capabilities of other lenses do for me, so I'm just going to focus on the lenses that I will be using today for today's shoot that will be happening in just a few hours. I recently purchased the cannon five d mark three from adirama and I was really excited and I shot two sessions with it and they really, really, really I love it. I really do I have the five d and then I had the five d mark two and I decided to upgrade to the five d mark three to address some of the things that I felt should have been addressed with the ma...

rk to that kind of missed the mark uh wait okay, so the five mark three I absolutely love it, I will be getting a writing, an in depth post about that camera later later this week so if you decide to follow my block what I wanted to do with you more than one session with it because I want to have a better idea to kind of talk about the high case high so capabilities and we won't be needing that today because I just checked out the this the chute location I'm very excited and the models are getting ready and they're looking good there's a great creative team will be able to talk about, so I'm just really excited for all of that so I shoot with the five dean mark three somebody had asked yesterday when I made the transition from a crop center to a full frame censor I was shooting with the cannon twenty for about a year and a half that's when I started my business with and then I invested, I think in early two thousand eight with the cannon fight so I kind of stayed with the five d family and kind of growing with it and it hasn't done me wrong and I really, really, really love it, so the lens I used the most hands down would be the candidate fifty millimeter, one point two this's the lens that I use in and out and all the time I just feel like for me it's one of the most versatile lenses when it comes to shooting details when it comes to shooting couples, when it comes to even shooting family photos, if the family is not too big, all throwing the fifty, I absolutely love it, and some people talk about the focusing issues with this particular lens, and maybe I got a good one in the batch, but my little thing just chugs like I love this little ones, and this is what I capture my table details with, I usually shoot the bouquet with this lens, the booty near with this lens, I use it quite often you're going to see it more often as I'm shooting later on this afternoon and yesterday when I showed it when I showed the featured shoots, the three styled shoots three different ways. You'll see the metadata along the bottom of the photo, and you'll see that the fifty millimeter was used primarily the most of all the lenses. The second ones that I use quite often is the eighty five millimeter, one point two I excuse me, eighty five million or one point two I use this more often when I'm shooting a couple versus when I'm shooting details, so why bring it along? I'm during a styled shoot because I feel like it gives him more of a voyeuristic appeal on it gets really, really, really nice light, and it gets a nice and tight when I'm shooting with the subject, so I love to shoot with the eighty five kind of stand back at a distance put a subject in the foreground and she just packed pass that subject at maybe like an f two aa one eight and focus on the subject behind that subject to create levels within the photo a depth of field and I just can't have it feel that the eighty five does something beautiful with this I will say though, that the eighty five one point eight from my experience that's the lens that I started with it is beautiful lends it does phenomenally in such great situations jd still shoots with the eighty five one point to it for it is going on his fifth year and it hasn't given him any issues I feel that the eighty five one point two focus is faster I think it's a better performer however, when the eighty five one point two locks in on a subject I just have yet to find a prettier picture when that happens it's just so beautiful skin tones just look glorious with this lens different kind of look and beautiful for portrait's I just want to note that I probably don't use this lens quite often in tight spaces because as a very hard time focusing when I don't give that give it the distance that I need to the third lens that I bring to a shoot with me is the thirty five millimeter this was a recent addition to my arsenal lenses and I absolutely love it it's the lens that I didn't know that I wanted and actually put off getting it because I felt like the thirty five was going to be too similar to the fifth d so about three years ago I invested in the twenty four millimeter but what I realized that the twenty four was that it was more of a storytelling lines more of a a photo journalistic lens and that's the lens I actually go to the most during a reception like when they're dancing when the guests are dancing I have I personal preference what I feel is when guests are dancing wider photos tell more of a story as opposed to one person dancing like ok that's fine but that one person looking silly and all of his friends around him laughing at him tells more of a story which is why I prefer the twenty four when I'm shooting on the dance floor the thirty five, however, doesn't get distorted along the edges the way that the twenty four does and I feel like when it comes specifically to shooting editorially distortion just never really looks good. I use this kind of in a crunch when I'm when I don't have too much space but I don't really find myself using the thirty five so much to shoot details because from my experience what I discovered was that when you shoot details with a wide angle lens, you're getting a little too much of what's going on in the background. And after hearing some our talk yesterday, I even fillmore confident in making this decision because she had mentioned to clear the space around the items that you're shooting and to focus on things singularly. And I think it's, a thirty five just inherently because it is a wider lens, picks up everything around it. So with the thirty five with the fifty, I have much keener opportunity to crop out things that I don't want and get the an angle day that I like. Lastly, this is my most recent purchase. This was the macro hundred millimeter I s f two point eight and I purchases about maybe six months ago, and what I was shooting with was the hundred millimeter two point eight. But this difference is the s and it's considerably more expensive, then the one that I was working with. But I will say that the one that I was working with wasn't working half the time. And so I just knew that for me to get macro lens that worked in the capability that I needed it to work, it was time for me to make that investment, because I can't tell you how many times I was so frustrated, trying to get the ring shot on a wedding and not having it worked great in, like, perfect lighting, but I only work in perfect lighting, ten percent of the time. I'm working with tricky lighting most of the time, and I felt like this lens, what ever? The light I'm given it, just it locks in, and it gets a great focus. I use it more for reflective details for rings for beating on address house, so some are talked about getting details on address. This is the type of lines that captures that beautifully jewelry, and sometimes I'll use the this for the invitation, depending on if there's any, like flourish mints, or detailing on the edges of an invite it's not the best in low light situations, so if I must shoot it invitation in low light situations, I will probably defer to the fifty millimeter, because I can get more light with that lens, but when this lens locks in, it is it produces imagery that is un replicate, able with any other lens, so I understand that I use this lens a fraction of the day, but it is also the on ly lens that allows me to get a certain photo, so if you're starting out and you don't have this lens, don't feel the pressure to get this lens. I went probably two and a half years without having a macro lens, but I was renting the macro lens four weddings when I needed it, so it's probably depends on which lens he rents, but it's around twenty to twenty five dollars, and I think it's a good option. Another thing that we might bring we didn't bring it today because we don't need it for this shoot. We did bring it with us to seattle, but once we've seen the weather and the lighting conditions of the room, wait, don't need him. So I did bring an off camera flash if you'd like more information. I talked about that during the first course, and I also have a full list on my block about what the off camera flash looks like if you if you were to go to the block in the search icon and type in photo, flex p h o t o f l e x all one word it'll take you to the specific post that I talked these I use a photo flex light box and a trouble with an ocular flash to weddings in dark situations. We also bring a reflector with us to shoot it's. I have yet to use it, but I always bring it with me because you never know what we hoster way so that's the gear that I will be why are we laughing? There's an inside joke here, cardigan see that's what I'm saying? I love you, michele. They had it. She had it on first and she was all, like, squatted down and like, standing underneath this all funny and john taggart, mark one of them took a really funny picture way call natural reflectors. Anything that reflects light is reflected. So if you can use something that's already in the room and when we go over to the location next door, we're all going to see what we're given and it's actually, the walls that are adjacent, we'll explain it a little more the primary, the color of the rooms, primarily white eight which I didn't know, but which is phenomenal because there's light reflecting from every corner of the room, which is going to be good for us, especially that it's overcast outside, so we have overcast. Light coming in through the windows, reflecting off the white walls, reflecting off the light color would and reflecting off the pipe and drive off to the site. So it's going to be good. So we're gonna really make, you know, actually, shirt. Or is that your shirt, michelle. Okay, actually, we're going to actually win the magnify. Ashley is for real shirt.

Class Description

This three-day event will be packed with how-to and tips for wedding photographers who are ready to shake up their business. In addition to lighting, posing, and technique, Jasmine will photograph a bride and groom, and a gorgeous wedding set up that'll facilitate a live demonstration how to photograph wedding details, elements, and moments with an editorial flair. The course will also address how Jasmine successfully submits her work for national publication and include discussions with editors on how photographers can approach a wedding day to maximize their publication opportunities. If you like taking risks, untraditional posing, and finding dynamic light in any situation, this course is for you. Be prepared for a smashing good time as Jasmine dissects her photography, online marketing, and teaches you how to create a fabulous experience before the first click of the shutter.