Styled Shoot: Reception Details


Editorial Wedding Photography


Lesson Info

Styled Shoot: Reception Details

To be honest, I shoot j peg during the shoot because I can like you can get proper exposure because I have a lot on the line I'm going to shoot raw so I'm actually shooting a small rock and um yeah, we're going to get this going so what we're working with is from what I see immediately is that we have shadows on this side so I'm going to maybe perhaps like in that and post I'm goingto I'm going to see you're going to maybe try to shoot it in a way that will minimize it but ideally I want to shoot it straight on this's one thing that appeals editorially and cleanly and one thing that I just can't help it you know what I see a lot and marked a store that's the magazine I subscribe to is a lot of this but we have a whitewall we have a white cake and we have a beige table so what we need to do is just to be careful in regards to exposure so I'm going to go to a two point oh I'm gonna goto isil one sixty and for me it's just a lot of just testing out the light no this's I have this's not th...

is is the mark too oh ok well we're shooting with five d mark to today okay, here we go so my settings at this point in time I was so spoiled at that last great what I'm going to do is my settings are one sixty s o f two point oh, in twelve fifty that will be my first that will be my first test, and a lot of times I've noticed that cannon has a hard time picking up red tones, so I'm going to have tio get in a little bit closer to capture the flowers in that respect. So now I have the photo that I feel is good vertically I'm gonna shoot it horizontally. Now what I realized, if I should horizontally and the cake is placed in the middle of my frame, I will be picking up the edge of the wall, which I don't want somebody who's the rule of thirds, I'm gonna bring the cake over here and I'm picking up shadows from the table, but I think if I can crop it later, so it's fine, I'm gonna move it in is making sure that it's focused kind of like to because it kind of gives a nice appeal. I shot it further back go back to the center focal point I'm going to get a little closer, same settings because my life hasn't changed, but the closer that I get to the cake, the less white of the wall I'm getting so I need to adjust my shutter speed accordingly. And I always think subconscious for my shooting, my shooting buster and whatever, okay, I'm gonna shoot it vertically, horizontally and the cake stand is one thing that we want to focus on because of its square edges. Square edges, square edges, score, edges, score edges. I'm just going to shoot the edges because I can and it might make for detail. Photo. Kelsey, did you want something? No, what? I, um once we're done with the reception area and we rotate things, we can get shots of that in front of we'll take her background as well, if you want. Yes, ok, so kelsey's writes what kelsey wanted to dio you're right and you were so plight. So where is this a can shoot the cake in front of the wallpaper, the wallpaper so there's a great calling kills you way here's the speeches that we have both options no in front of the wallpaper is the shot, so I'm going to stop shooting it here. That's not the shot we need. I'm going actually shoot the square square square or the england lingle I'm going to ask you to remove the cake. I'm going to shoot something else, and then after I'm done shooting this table. Will move this out and then bring that table in thank you for stopping me that's exactly what I wanted it was kind of a boring photo outside of that white white white but minute we put the white on the wallpaper thank you. So, um feeling like ok. So did anybody hear kelsey make a peep whatsoever? No, of course not. I think as a photographer it's our job to, like, be intuitive to a certain extent if you see somebody who's watching you shoot it's like ask what's going on right sometimes it's uncomfortable that stop somebody as a shooting I'm going get the corner corner corner real quick I'm getting you know what I need to do is I need to crop in camera because I don't have enough of the floor behind me and I don't want to get the floor ending going on to concrete and again this might not be a good photo I have no idea that will but the idea is to get photos that may or may not work at a different point in time I'm changing my shutter speed t one thousand so I'm gonna have to point oh, I saw one sixteen okay, so many should the table you have any questions up into this point oh uh, okay, right, like I said, it might not be a good photo, okay, so let's let's bring up the list way need to do a wide shot for the designer judy get thirty five you know I am just so white boy okay question I'm a question from the internet yes while you're switching that up thank you can a yeah question from no back photos would you ever use a reflector at all to help with lighting? I'm not in the situation because we have way have really good light I do bring the reflected to some shoots but overall in this particular situation specifically once we bring the reason why we have shadows in this photo is because of where the cake is in relation to most of the lights the minute we bring the cake in front of this being window and issued it head on that will have less of a shadow which which was great that kills he had actually stopped me I put on the thirty five millimeter I'm shooting in one sixty and if I don't answer the question the way that it should be answered please feel free to let me know so now I'm shooting the wide shot the overall design shot for kelsey and everybody on the creative team will probably want this particular photo I'm goingto shooting at a three point five I'm going to adjust my shutter speed from there my center of focal point is going to be on the centerpiece on the middle of the table and if it's at all possible judy were kelsey, could I have you moved them cake table just to the left and perhaps put the cards on it? The get the seating cards judy, if you can help them of yeah, I sound like I'm out of breath because I'm just like so nervous, okay, great kelsey feel free teo crossover don't worry about it so my center for the my central focal point is actually on the center of the middle of the centerpiece I'm framing it so oh yeah us conceded because I'm tethered so never mind you guys are saying my some shooting it vertically and horizontally now as I should it vertically I'm going to come in a little closer because I don't want to reveal the fact that the wall ends at twelve feet, so coming a little feel free so I'm seeing my I'm seeing the creative team not wanting to cross in front of me that I reveal didn't reveal the top no, I did it right okay, I was like, why am I freaking up? Okay, so the creative team is like trepidatious as they cross for me and I don't want that to be the case whatsoever I always yell behind my camera cross cross it doesn't matter, I will shoot if you're in my frame, we'll just reshoot it again again let's see, I'm going to be shooting this so that I don't reveal the top I need to get myself I need a look fully through the frame and make sure that have edges around okay, so what I'm talking up here is as we shoot vertically, I needed to get myself edges around the picture because I'm not shooting on a tripod so and post they may have to adjust the photos to make them straight and because of outsourcing I can't be the one to do it precisely I know that it's pretty straight, but again, as I'm doing a submission, I need to make sure that all my lines are aligned does win the pillow just o e thank you I know that pillow okay great, no problem, okay, I'm gonna do one more vertical shot get myself, hopefully a little bit more space, but the problem is because I'm shooting with a condensed wall I don't have I can't pull up too much because the father I pull out the more of the floor that I get and the more floor that you show it looks like as if that is the main the main thing that we're shooting, but maybe in post I can like as an editing and photo shop I could rearrange the crop if this is the photo, but I have to know that the overall shot will be featured this shot one hundred percent b feature the overall global shot. So now that I have this, I'm going tio shoot thiss table with the thirty five at an angle this way, then I'm going to shoot it with the fifty because the fifty is primarily what I use the most, but I want to make sure that I give the editor a good option I'm going to have to, and I'm primarily shouldn't have to because it is rather bright in here, and I don't need to be shooting at a wider aperture unless there was a lot of stuff in the bathroom that he didn't want to see when I'm already picking up, though, is the dark floor and that dark piece of wood on the other side of the wall will become the dark spot that summer reference. So anything like that, I'm going to crop in camera really should it at a wide aperture, so once they're done with that table because I don't want their feet to sit in the photo, but I'm not telling them to move, but I actually am with my voice, I'm not telling them to move at all, okay, so I do a test shot at this particular point, I don't. Care about who's in the back of the frame or what's in the back of the frame at this particular time? I'm just looking at the at the light, so I'm shifting that my body because that particular frame included a lot of the not junk in the background, but for lack of better words a little bit. So my focal point is going to be on the glass I'm shooting in an f two point oh, the glass with a drink in it because I don't need to focus on, say, the candles in this particular instance. Now what I'm picking up in the background is a wall and it is dark, but there's nothing that I could do about that, but perhaps crop it at a later point in time. Um, I'm going to shoot it a little bit tighter tio not show the wall, I don't have to change my settings because it's the same light and what I'm doing sometimes people on the internet want to know why I'm shifting my camera up in down I'm finding okay, so tha cannon five d mark two has, I think seven full the points and the five d mark three has sixty four, so the focusing system on the five d mark three is far better, which is why I wanted to shoot with that camera, but that's ok not everything works remember certain things are out of your control, so I'm going back to the five d mark two focusing on fight so when you have a sixty four point focal system, you don't have to roti your camera, but when you have a seven point focal system, you have to find it the focal point closest to the subjects that you want club closest to the focal point that you want, pick that position focus and then shifted on the x or y plane up and down or side decide if, say, I want to focus and then move it on a diagonal. The thing that I originally focused on was gonna be in focus, and the picture won't be in focus or we might talking, okay? And I am just, like, sweating profusely, okay? I'm going to take the fifty right about now. What I'm going to do now is once I haven't overall, um, shot now, as you can see, no, as you cannot see, forgive me, j d actually leaves the detail shooting to me on what he's doing at this time is he's catering if we weren't shooting he's actually talking to the florist he's talking to the designer who's, asking, they want any water he's clearing our bags, he's being he's being an assistant that supersedes most assistance he's caring about the photographer more than he's carrying about the shot in this particular situation every it's just kind of watching and waiting but if we were outside of this he would be taking care of them and letting me breathe once the models come out then that's when I need him to get a different candidate editorial perspective so what I'm going to do now is I'm going to work across the table because it makes people confident in this way I'm going to shoot the chairs I'm going to shoot the pillows horizontally vertically focal point here focal point there I'm going to move to the table I'm going to shoot that glass with the sprig of freaking meant so cute going to shoot that individually I'm going to shoot the menu I'm going to shoot the place card going to shoot over the top to get these flatware because we need that I'm going to shoot the salted by itself I'm going to shoot a horizontal and vertical of this beautiful area I'm going to get the macro I'm going to shoot the twine on this and then I'm going to shoot this suspended floral arrangement are we on the same page? Okay I just needed somebody to talk to you okay, I'm so sorry can I have you just scoot over just a tiny bit actually let me just see something okay I actually going to make a decision okay I don't have light on this site I love shooting things backlit but the lite is over here another thing but it's a dark wall I'm making a decision I could shoot it this way I don't have the back light but I have a white backdrop but what I can't stand is this that's why I'm kind of a stickler for pipe and drain pipe and drape must be done like impeccably in order for it to qualify tio to kind of count so I'm going I'm going to make a decision and I'm shooting it back with so it's going to get personal decision I'm going to shoot it and shoot it and hopefully way that doesn't betray um is it possible viking move those chords sorry guys yep okay I mean should it gets five hundred sorry I changed my mind I think um I think we'll be we'll be okay we'll be ok and then what's happening though is I'm getting the cord in the background of the photos if I'm shooting gets a pipe and drape so what can you do about that? What? Yes michelle please buy me some time let's say you have an instance like this where you can't move something in the background but you really need that specific shot would you d'oh editing in photo shop after just to remove that well I can't remove the wall I would think when you were talking about the cord it's well it was a few things his feet it was florida concrete it was window and I just realized five things I can't change I could get one or two so that I just said don't fight it I will regret it later so I'm going to sacrifice a little bit of the light but I'm gonna get an all white background and um I'm going to see how can I move the pipe in the draping to the floors edge gosh I know that this seems particular I'm so sorry no okay you know what there are things out of our control that's actually so let's don't worry don't worry okay so I just have a feeling that this will probably irk me later so I just want to make sure that everything is closed and of course I could fix this in post but it takes me much longer to fix one photo at a time so this is what I have to dio someone should the chairs here we go sorry I don't know why I'm apologizing we're just gonna we're just getting out of it now the lower okay if I were to shoot down on the chair I could pick up what's going on back there if I were to bring my perspective down and shoot it at eye level how summer suggested I get less of the discrepancy between the floors ok good I like that that's looking like now it's difficult shooting a clear chair but we're going to pick it up we're gonna pick it up according and picking up according to the share the pillows on the chairs um can we get that court and to the off of the floor? I'm sorry I feel like such a diva right now okay I'm gonna use the rule of thirds to shoot this photo to get horizontal because I think that um have it being in the middle doesn't tell the right story because if I hear I'm gonna shoot it both in the middle and then shoot it rule of thirds so counter recall ok cool I'm gonna shoot this in the middle now I'm not going to use this photo because what it does though includes the table what it's also including is the hole in the pipe and drape and I'm getting a bit of the table scape but not in the way that I wanted to be conveyed exactly and so last are you getting that thank you I'm sorry good it's just saving so much time in post to make sure that there's not gaps between the pipe and drape that perfect perfect now I'm going to do rule of thirds for this photograph because we'll be able to do is just get the edge of the table and the and the chairs the way that I want them it tells more of a story so like summer and said what's the story that you're telling and just tell that so we could juxtapose the first and the third of the first photo and the last photo so got the pictures of got a vertical shot of the chair's got a horizontal shot of the chairs no, I'm going to do just the pillows focus on the foreground, change a focal point and focus on the chair behind it so that I can blur out thiss photo and focus on this photo so I got the standard one and then I got a little judged one giving the editor the options wow, they have two photos next to each other way to go, guys, I'm working with professionals now what I said earlier before was we're talking about the mint we're talking about finding the best sausage yesterday, okay? Okay, so today we're not dealing with sausages, but what I really like, what I actually particularly particularly light this mitt instead of that meant because it looks a little it's still a beautiful piece of men but it's a little frayed and why mike of offending I'm offending the meant so I'm going to see if I can just work my way around here and I'm going to actually move the candle on the opposite side of the table because I'm afraid of burning my hair and I'm gonna bring it back, so moving to style life something is totally fine I'm going to shoot it in the in the position, it's what it is in and then I'm going to shoot it, having to change it just a bit, so I'm going to test the light and the focus on the mint good, so I'm shooting down on something now, this is probably for the bride if I was shooting on a wedding because she paid for this meant this's also for the rental company. Okay, so then I want to do is I'm going to change a few things, but I'm noticing that the cups leave a wet mark on the linen put it on the floor instead of putting on the linen and wedding, a different piece of the linen going to move the knife. I'm going to shoot the cup at eye level, stylized against the, um, strength, and I feel like the light is acting as a distraction, so I'm gonna move it here and now I'm just going to eat this, going to move this back where it was, and then any time you're just you don't know where to put anything, just follow what the other seats have given you great now I'm going to shoot the menu from an angle this way. I'm going to change my aperture to two point eight because I want less of the depth of field because I want to get more of the text I'm changing my shutter speed of two point eight, two, five hundred one sixty s o and I'm shooting it more than once just to ensure that they have a shot that is in focus as I want it. I'm always focusing on the word menu because we want to focus on what that what exactly is I'm shooting? I'm gonna shoot down on it. I'm going to remove a few things. Wow, you guys, I feel like I'm boring you guys to death. I'm sorry, okay, here we go. So I'm going to make this, too, and just want to shoot this. I need to make sure that I'm giving myself space around the plate for, um editing later. Now, do I think this is going to be an editorial photo? Not necessarily, but it's going to make the paper goods provider very happy, so now I need to shoot it that I think will make a blogger a lot happier. Um, that's a little dark and change it to three twenty should have seen you'll notice that I don't change my iife so because my eye so is going to be consistent, given the environment that were given great to see so I'm noticing that the forks are staggered and I'm just going to emulate the same thing on the other one I would take a picture of what it looks like shooting down okay, here we go. Um I might leave this one no, I don't mind anything please help me you're setting you said it was that also your way composing things like ok, he looked like bob barker. Okay, okay, thank you. I'm sorry. You remember how I said my love languages to make fun of people I'm sorry you guys saw in action right there? Rude I'm a rude ok, so I'm going to stand on this chair which is what I do but remember how from the misa and andy picture set talked to be what meets an andy picture I uh I, um I had my feet and photo I have since learned not to do that ticket settings are f two pointing my isil will always be one sixty unless I listed otherwise so on f two point eight shudders b three twenty now uh oh, you'll see my framing now what happened is that the cup left wet marks on the table. I'm gonna have to understand that I'm going to go back for the submission photos and um um anybody yeah editor now photo thank you, bill, who ever said that my focal point center focal point and I'm reading the word menu and then shifting and re composing so it's a little dark let's go down to two hundred try that again menu shift to recomposed this's how I like my exposure great shooting vertical and horizontal great okay good I'm gonna shoot one more of just the kind of like the plates I'm gonna change my shutter speed again because I was shooting down and I was standing my legs were shielding the plate from light now the plate has full light so I need to compose for that I need to compensate for that with cheddar speed I'm gonna try to over four hundred that's what I wanted and that just comes with practice sweet lord ok I'm going to move everything back again but before I do that I'm going to shoot the laura preston police card for todd yes think e get I'm going to shoot this perfect timing for that so what I'm doing in this particular photo is keeping a bit of the menu in the foreground and blurring it out and focusing on the back so that it kind of creates a level of dimension I'm moving this wine cup because I got the base of the cup in the background and they don't want that no I'm gonna shoot it just by itself straight on so far I haven't broken a piece of china so I think we're okay it's so quiet e music playing or something I'm would we ask you a question from the internet like call fabulous and says you're on a drink of water and she like tom shea actually close so you're on the drink of water there's condensation on the glass and you're mentioning that it leaves a mark on the table were researching types of linen yes for certain times of women would you prefer using liquid that's room temperature or do you like having that frosty glass? I thank you I never had the luxury of choosing the temperature of the water. I actually like the fact that chelsea that kelsey chose ice to go in the water glass because it looks like it's actual wedding like people nobody really drinks room temperature water so I like it I won't have a problem going through this emission and cleaning that up for submission I'm sure nobody else is hot I'm sure nobody else is hot I'm just like probably two hundred thousand degrees right about now, okay? All right, so jazz and I'm another quick one for you please tell me I'm so before we can see the green, could I have the table rearranged? Perfect, I just in the reason why I'm asking kelsey to rearrange a table is because I know I probably wouldn't do it as well as she would sew as she's doing that so I remember we had lots of people asking this at your first creative live is why don't you use a strap on your case okay I don't use a strap because um I don't need teo I feel like a struck gets in the way and I believe that a strap when I have a strap it I know probably I'm sorry it probably is going to sound terrible I feel like going strapless makes me feel like a professional because I have to hold my camera one hundred percent of the time I'm never often the side of the room just letting it dingle and I always feel like I'm in perpetually that had a gun I'm ready to shoot I don't want to keep my gun in my holster which is why I have it in my hands so and I'm sure that's going to be a sweet like you want to get strapless and provisional so what I'm going to do now is I'm going to focus on well kelsey is working on that side of the table I'm going to multiply my time and I'm going to shoot the details and the flowers along this side so great I'm going to have a quarterback I know I'm no okay she she's done so I have okay so I what I need now are the candles that's what I need so I want to get those by themselves or at least away from distracting element and when I say distracting elements I'm thinking the salt might be a destructive element the flatware and this particular blast this class I don't think we'll be a just shocking element and I think having it perhaps against the name card will actually add an element of depth and framing so I will just simply move things over here after I had kelsey do everything that I switch my change my mind switch this here move this over so do I do this at a wedding? Absolutely I absolutely rearrange and jd is usually one behind me who fixes everything I can ask I can answer a question too in your wedding day schedule for this specifically rearranging if I can get twenty five minutes I would be the luckiest robert I'm at two point eight five hundredth of a second one sixty s so did I sound rude when he answered that? Okay so how much time would you recommend someone who's maybe not as quick and streamlined in the process as you're lucky? If you get twenty five work that I think I'm not going todo is that after that's done right before ceremony or wins that twenty five minutes best after ceremony it's after all formal pictures are have concluded and this is when after I feel safe enough to kind of do it on my own I have jd go about and do the swoop for cocktail hour thiss week so I did the rule of thirds for this particular for the horizontal photo and in order for me to do that I had to clear quite a bit of the table okay? And he needed to make sure that I left enough room at the bottom of the frame for cropping because I know that it's not going to be perfectly straight and because I outsource those the considerations now flowers that's what is going to do but I need to walk around this way kelsey committee rearrange I'm sorry thank you looking from the internet what is on the internet? Yes, please you guys I feel so like please don't hesitate if I can't answer all that you know, I would prefer for you guys to ask so I feel like it's eerily quiet right on ok, cool. So renee streak is one I do move things around this month at a real wedding had you keep the planners from flipping their scooters over that? No um kelsey if you they're not they're doing so much. I don't have a car donator whose the corner here is this much time to watch me move she's not doing what you should be doing should they don't even know that I'm moving stuff they just get the photos and like sorry kelsey wanted that sound rude tio coordinators worldwide um ok what I'm gonna be shooting now are details up close of the flowers within this frame and yes I do think that they would be for submission yes I do think they would be for the designer and yes I think that they would be full force I'm going to shoot it edit angle including the candles because I like that bit and I'm gonna be shooting it straightforward I'm gonna be dropping it because I just like I like to be bringing it up to an eight hundred and kind of seeing where that's leaving me any questions yeah quite a few people are wondering about standing on furniture at a real wedding is it ok to stand on one of the chairs at a real wedding or do you bring a stepladder do is most chairs come with with thank you cushion most chairs with common cushions never stand in the cushion because they paid for that lift the cushion stand on the chair otto I use one hundred percent auto white balance because you're in post everything's adjusted you can make the changes and sometimes in the beginning I felt so consumed with auto white I mean with finding the right white balance that I was getting distracted and I would walk into a room shooting it in cloudy when I should have been shooting it elsewhere hundred percent out of white house and light room and both aperture have wonderful ways of adjusting it what percentage of your photos would you say are cropped in your post production production? Very very, very little like I don't do those production so I'm cropping them in camera because I'm thinking about it with a lot more strategy with your white balance is that something you're fixing or the or your outsourced companies outsourced? Our fix is fixing it I'm sorry ladies have you chris on over thank you you guys I'm sounding room right now. Okay, I'm shooting I'm and that lovely cameraman yes a little more a little more perfect so I'm gonna pull the I'm gonna pull the linens tout I've been seeing with wrinkled linen not that this is wass because she steamed it perfectly but as I'm moving things the living will change so I just want to go through comb it on down and I'm sure he looks so professional right now I'm sorry dio okay I like that great when you're in a dress no no way a lot of times though way don't get side decorations you know when's the last time you saw outside decorations so I want to show you see a lot of the mouth hits hopes yeah okay, so because I'm at this angle I should just get up and walk but we'll be fine I'm going to shoot horizontally now I'm gonna I'm gonna fight for the backlit photo I'm at an angle so I don't have to worry about the floor anymore the only thing I have to worry about is that dark piece of wood and I'm going to get over it and we're just going to see what we can do from there I don't have all the entire crew can elleray beautiful people scoot over just a bit cameraman can you scoot over I'm listening what I'm sorry guys of your collaborators are president while you're doing this do you have the baker here with you? Do you have people present at the shoot? I do the designer and the forest usually stay the baker has somebody drop off can I get the cords removed? Sorry guys sorry I call so rude so we're doing this we're not gonna have cords on the floor and things like that, obviously, but what type of instruction are you requesting those court of the people who collaborated with other nine cool so they're just watching it all take place. They're usually cleaning their usually talking to their crew. They're usually working on other design aspects while I'm working. So is that something you created schedule for? Nope. He just kind of I'm gonna back up through the oh ok, I'm going to fight for the back again asking you about this could you possibly let us know what you're shooting when you when you're actually should like what you're focusing on absolutely absolutely what the shot is before while you're shooting, I think you can it the last shot because that wonderful question that britney had asked would I do this in a dress? And probably not, but because there's I've never shot a table that has aside component now what summer said yesterday was show highlighting anything that's, extraordinarily different olives in a light bulb went on me and all of this, and I realized that has to be the main component to the shoot. The fact that a table with side decorations has never been done before, I need to shoot the heck out of it, which is why I'm fighting for the backlight, okay, thank you. So now what I'm gonna be shooting is I'm going to be shooting the side decorations backlit. I know that the reds don't get captured too well and cannon, I'm going to be omitting the top, the rig from above I'm gonna be shooting just the flower suspended, so they look like this is spending in mid air. My focal point will not ok breed woman my focal point will be center focal point will be focusing on this flower, but if I'm shooting this as a center focal point, everything above this point will be in focus this won't be disastrously out of focus I'm still going to keep it in enough too because I can get a depth of field and I could still blow out the back roads to see how it comes from there ok I'm going to shoot it low because if I shoot it at this point if I should be at eye level I'm getting all the dirtiness in the back I'm going to squat a tiny bit I'm gonna go further back because I need to leave I need to leave the room on the edges for cropping in post and this is what I want center focal point flowers were bring it in just a tiny bit does what are you using back button focus back in focus now I'm gonna be shooting this suspended okay now that I know I'm gonna be shooting the suspended light that's a scented flowers I'm going to be shooting it against the white because I need to pick up the light from that sudden wall shooting red backlit in this particular situation I'm going to do it before I cross over to see what's happening but I think it's going to be more advantageous for me to shoot this particular item against the white we're going to see how it goes yeah we're going to show you how it was just that simple okay here we go questions as we move over you're used to having an audience around you right now for us if we're able to do the style I shoot in the future, would you recommend not having people around for focused really like would you invite friends to come? Enjoy? No, no. Well, not if it's your first one. You have a lot a lot a lot lot lot with you think up, so no, you don't want that. So how I'm composing was at the end of question perfect. So what? How could compose this photo is I feel like I'm gonna get a bit of the court, but what I want is to incorporate this element, this element, this element, this element thanks j d s o my focal point will be what's in the foreground, which is the upper corner of um well, I don't get that exposure, ok? We're gonna go to twelve fifty now and I have to raise my came because have to crop up the court in the background in the lower left hand corner. My focal point is not the one at the bottom of the one to the upper left from the bottom. Yes, um, I'm actually so michelle suggested that I go around to get the court out, but what I'm picking up is the light from this window hitting this and the light from this window hitting this if I were to go on that side yeah I could do that but that's ok doesn't get suggestion that that was a great suggestion either way I wouldn't be shooting it too far down because then it would put be suspended floral fixture too far low in the frame I need to look at like make it look like it's peaking out thank you thank you can you tell us who you're shooting for win if you're doing a style shoot is one hundred percent for the vendor for the creative team because I don't haven't I don't have an incline I'm shooting one hundred percent for I'm shooting ninety percent for this particular shoot is ninety percent for the creative team because they donated their services to this and I'm shooting ten percent for the invisible yeah well I'm shooting one hundred percent for the people right in the in the creative life ok so now what I'm going to shoot is I'm going to shoot it this way and keep it nice and tight versus me shooting it backlit can't because uh ok not to say I can't I will think about it differently I can't get a straight on shot because what happens is as I compose a shot this is what I'm saying I'm going to change the focal point to the very lowest focal point my settings are have to point out one thousandth of a second one sixty s o and this is a better than to get straight on that's the photo I can't have because there's gaps in the photo in the background what I need to do is I need to shift my thinking kellen and celeste I'm sorry guys and let's see what we can compose outside of that um I'm going to shoot it this way I don't know if it will make a submission a submission but I'm still going to shoot it for my creative team this particular photo will be focused on the suspended flowers and we're going to see what we can do from there questions you get the court on the street all the way over to the end did you guys just see that like genuine like energy who's okay, now what I'm gonna be shooting that was a great question I love that um just a little bit more on that one good always to wall I'm gonna be shooting it from this angle because I'm still going to get the windows in the back but there's nothing I could do about that and I'm just going to embrace it and she did the best I can given the situation that you do not have a ceiling tio floor wall my focal point will be on the suspended flower piece which will be the focal point at the very top and most in time now I'm shooting vertically I'm still keeping it that seventy it's gonna be seventy twenty it's not a b seventeen twenty ten because there's well, the ten will save me the posed like action shots and I'm cropping it out I'm cropping out the hole in the pipe and drink because this is what it could be shooting that but I get the court and I get the coal in the wall so have to shoot at an angle tio creatively crop inside and yes, I am cropping out a bit of the quarter chairs, but I still have the middle and the latter chair to convey the entire thought. Anything else as a photographer there any of these specific details that you chose or did you leave all of the specific detail decisions up to the other covering every collaborative is entirely different. Some people take my ideas and run with them and then some people use my ideas as a starting point and then some people I take my ideas and just say thank you, but we're going to run with it and do our thing, which is what they should be doing. I threw out ideas to kelsey and there were terrible ideas and she didn't use them. She did her thing, which was absolutely phenomenal, so help me review did we get flatware to get linens, get the florals, get the suspended with the candles, but the drink got salt that the plates the chairs but the pillows is there anything else we're fighting with the break the big photo, the wide photo cake, right? But for specifically, in regards to this, anything, what I'm going to do now is I'm going to shoot just up close of this. Can I get the macro? You know, something? You took an angled shot from down there where you wanted to get that to mention it with the well, people in the background was that shot inclusive of that dimension in the wallpaper that you wanted? Or would you do a different shot for? That is all I'm going to show it? That's a great question. I mean, she kept inside what michelle was referring to was I needed to get a shot remember that showcase details showcase details that highlight works specific to the creative artist behind it. This right here, I've never shot before, so yes, I shot it from a distance, but what I want to do and do I think it's going to be for submission? Probably not, although I will probably submit it, but what I'm going to do, shoot it at an angle so that I could show that the wall was recessed and this was wallpapered once we move this table, please remind me I'm going to shoot just the wallpaper as a texture. What heads like summer head suggested yesterday so keep me onto that I switched to the macro lens I'm going to go to a two point eight s o one sixty I'm gonna drop it. Um, see what's going on camera there we go, going to drop to four hundred we'll see where it puts us from there what I just do with the macro as well. Shoot a couple close ups of flowers, money the center focal point on this is primarily for the forest. You see what puts this might be a little dark. It is I'm gonna bring up my eye so to two hundred and drop my shutter speed two, two hundred great I like that, so I didn't leave it there sent a focal point. I'm gonna leave it there, and then I'm going to switch the focal point to the very upper, most vocal point so that I get the same identical photo with two different focal points, one in the foreground, one in the background, and then gave the butter the option of both those and now the floor's has the option of two separate designs, all shift and recomposed my photo, I will shoot it horizontally so now, including is the actual table escape as it's intended to look so flowers, wine, candles, the whole nine hulking caboodle um one thing that I see a lot of times I'm going to shoot it the way that I initially saw it, which was this now with the way I should be shooting it is this taking a step back and getting the flowers from the base all the way to the tip of the of the arrangement for, um like the menu and the place card er if there was if there was embellishments on it, yes there it's flat it looks like it was injected and ancient print thank you and if there was a dazzling on it, I might think about it I might michelle seems to like the devil if there was, I would do that, but in this particular case, I don't think I am, especially considering I'm gonna have to be on a chair and be shooting on this if I had if I had one hundred, I can't get the entire suite so that's another consideration. So now I have a question sometimes you should see you move chairs are you going to take a wide a wide angle shot without without the chairs? Yeah, just just things on the table but you'll always have the chairs yes, yes for sure and now I'm using the macro lens not necessarily from four submission but for my creative team because I want to highlight a certain a few certain things for them this right now who that exposure is not right I'm gonna go to four hundred this is for the rental team as well is guilty so the candles we have the wine all kind of we have a perspective so that the front part of it is disordered the back part of distorted the focal point is the wine glass on to do the same vertically although I think it doesn't have the same appeal um it doesn't have the same appeal as the as the horizontal I'm gonna get a couple photographs with flowers mrs rock for is that tape exists across all style sheets or is that j peg for what my left started across all styled shoots? Uh, yeah, I just feel like it's a controlled setting I don't need tio I don't need teo I don't need as much latitude I shoot one hundred I shoot raw and defect on the wedding day because I think that raw helps me get loud too in case of emergency situation. But I try to get my exposure right where I needed a day off really controlled setting when you did your french country shoot and it was outside and it was very uncontrollable with still controlled really uncontrolled to me are elements that I can't foresee coming I could foresee the sun clouds going over the son I can't foresee um uh um gramma and bride tugging really quick and shifting what? I'm shooting details. And you see across the room that grandma and the bride had hugged that lighting situation is entirely different if in that situation I was at a certain setting rock and bring me back to that photo that could be salvageable versus j peg. So that's why I do that? Jasmine, I just want to give you a shout out from the internet. Digital dream says, could you please tell jasmine that this is an amazing live tutorial on thank you so much for giving us your time and expertise. I am blue to my monitor and it helps. That dozen is so beautiful too. I'll feel beautiful. Boom! I feel like a sweat, a thing, but thank you. This is how the internet is. Thank you for the last photo I will be taking will be in a suspended photo and also a detail shot of the salts because I'm obsessed with it then what we will be doing is moving this out of the way and if at all possible, I would love to shoot both thie cake and these cards in front of the I'm going to get both ways I'm gonna still move the table I'm going to shoot this I'm gonna shoot this I'm going to get the cards in front of the white table to have a clean background that I'm gonna move the table should the cards here then they're going to remove the cards I want to see if we can maybe bring the models out I'll get started on the models and then flipped back when the table is ready we call so far okay here we go this right here is for the cater or they a rental company depending if this is a wedding would be for the greater as well as for the designer and for the bride I shifted cause I didn't like what was included in that photo and I like the fact that there's a fork center focal point of fork and the place cards in the back I'll shoot this now have to shoot it at an angle my settings are two point eight four hundred two hundred s o s which my soul back to one sixty I'm shooting it at an angle so I could pick up the recessed well in the background so I have on the right side the white wall that's out recess tool as well it's dividing it just so that I can incorporate folk those backgrounds I'm gonna shoot it head on back up just a bit I'm sorry guys back up even further ok, I'm going to try to balance I'm gonna try to stand square. Okay, so what I learned to you is even if your stand off just a tiny bit centered and you think that you move your body centered in postproduction you'll realize that you were actually standing off to the side and you can actually get a squared shot so make sure that your shoulders are slow where centered to what you want and then try to use the center the whatever that whatever they're using as a level making sure that it's across the frame of your screen to get as close to low to close tio non cricket as possible and then leaving and room at the edges for editing oh, that exposure is away off we're goingto eight hundred shutter speed two point eight one sixty is so this's why I feel like this is why I say it's controlled setting that's what I want I'm gonna six forty let's get so go to six forty one six, forty second uh there we go one more of these but it's these farmers here the night of the questions yes question from the internet elena ruth is wondering went shooting macro for the table settings why do you shoot with one hundred millimeter macro as opposed to the fifty millimeter macron one hundred is what I have that issue with real quick. I went from eight hundred when I was shooting head on. I switched my shutter speed two, three. Twenty because I know that I have with this is only through experience. When you're shooting reds on canyon, you have to drop your shutter just a tiny bit to compensate for light and get the details within the red details. Yes. Ok. Ok. We're going to move this table. The models are becoming way. Move this table. It's gonna be kind of problematic to move the entire table. Is there any way we can shoot the models first and then do the cake and cards? If not, we can definitely do it, but sure. Embrace what you know, let's do that let's do that. Yeah, this of the models would be yeah. So before we do that what I'm gonna do just against the white background because I said I wanted to get the white background is well, the models are coming out. Thank you. We can dio issue this against the white. I'm gonna bring you always back why? And bring it all the way to the back is it'll minimize the amount of shadows I'll use the macro because the macro is what I have, kelsey, could you arrange the flowers on this side? The reason why I'm asking that they fall in the shadows and they lose their appeal going through the flowers here I have the macro on so that's what I'll use a minute because I felt back into the room and he got cloudy outside I mean, two hundred, I'm gonna keep it at three. Twenty s o j, if you can have the fifty ready in a second, I'll shoot it this way first go ahead. You can you can continue working. Another question from the internet. Yes. Easter three is wondering if you were in a real wedding situation, which shots would you leave off to shoot in twenty minutes? Um, I think it's better to get everything. And if not, I think it's better to get everything and perhaps not having you here proudest work, but to make sure that you crossed everything off your list and sitting like but I shot that escort table so beautifully and then you missed the menu cards and centerpieces and orders were cocteau our like, work fast? I know that's probably the answer you're looking well working fast, it's really important to get the horizontal and vertical of everything and they just keep moving on. I've been so okay I'm getting a picture of the flower in focus for the full oreste and shooting at an angle so what I want to do is I want to put something in the foreground and the background I have a ten steve always shooting the middle card because it adds up the field and adds a little personality to a photo I'm shooting two point eight, five hundred of a second two hundred s o and I'm focusing on the name in the centre focal point, so shoot a vertical should horizontal, and I'm cropping it in camera, so I don't reveal that there's only twelve cards and not two hundred great, I'll shoot with fifty, and then I'll be done and then we'll bring the models out. So did some here to cue the models, okay? And I can I've got a question for you in between. Yeah, rene is pretty, uh, renee spring question was, if you end up with twenty five shots of the place setting or the invitations sweet, do you show all twenty five to that particular creative team member? Or do you pick and choose the best three to five to show him three? Five? I think that's why they remember the aesthetic value and the taste there, working with us that we can get it down to the best and give them the best option from there, I switched to the fifty million, and I'm shooting at f two you have to compensate for the extra light that I'm able to get. I'm gonna go up to six forty if of the second and one sixty s o, just because I can get more that the field could go to eight hundred.

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.