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Experiential Awareness

Lesson 17 from: From Images to Art: Storytelling in Wedding Photography

Jim Garner

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Lesson Info

17. Experiential Awareness

Lesson Info

Experiential Awareness

It's going to be you interesting shooting here, tethered and everything. But that's why we have this bonus video. I required that. We have this bonus video for you guys because I shoot on the move. I'm always. We're always like Click. It's like Click Click off to the next location. Let's go quickly. So beautiful. Here's something we could shoot against these drapes over here. Quickly click Perfect. Let's move over here. It's really fast paced. It's really fun. Everyone really enjoys it. You heard Tricia Andrew talk about it. It was this wonderful flow. Didn't few like your pictures being taken? It is just in experience, and that's what we should weaken. Do that here. But tethered. It's not ideal. That's why I said, We got to show this audience a real live shooting. That's why I made that bonus bonus video. Even in our morning meeting today way were telling Jim where he could be and I'm not staying. They're going everywhere. I might see what happens. I might go rogue. I just warn you al...

l. But but if I do, it just means you won't see the photos as they come up live, But we'll show you later. Tomorrow. I won't go wrote. Look at everyone's going. We got a scare. Everybody will instantly. I know. I'm just warning you. Um, I won't corrupt. Anyways, I want to talk about this very important subject of energy rationing. It is the energy of the group. Thank you for the awesome question. Because this is what you dio when you have issues with the bride and groom their energy level, trying to expression emotion. You see, it's based on a foundation that what you put in is what you get out. Now. If I told you the experience leading up to the wedding day, you need to be in the inner circle of your clients. You need to be friends of them. Similar. Similarly, how? I became friends nutrition drew up into the day of their wedding. The engagement? She was part of that when I arrived. Oh, Tricia, love to see you hugs, you know, And it was like, this is gonna be the best day ever. Look, the sun is out of my gosh. We're gonna have fun. We're finally locations. It'll be great. Even though it poured down rain on us that day. But, um that's what energy ratcheting. What you put in is what you get out. We need to always have our eyes on the energy level. And a lot of photographers missed this completely. They don't know that there influence on the wedding day is big through the things they decide they have their clients do. Posing, posing, posing, posing is energy reducing behavior. There's act. I should call it if you if you start with posing in your day. We all know what happens with the energy that face the expression. It just drops right down to below baseline. You come in on a wedding day, you get this. Your job is to get it off the charts. Okay, energy, all are off the charts. You want on the high. I'm going the wrong way. You want it all the way to the high. Okay. Out here, you can't take a bad picture. There's no way in a 1,000, years. You can't do it because it's so fun. So playful. So but most part you're gonna be right about here, and you can put that energy right down into low by doing the wrong things at the wrong time. So that's This is a fun segment for me because I'm going to show you examples, energy ratcheting, just keeping your eye on on where the energy of the group will change everything with your work. So recall experience is more important than the act of taking the pictures. Okay. Even more important than capturing their experienced this is why. Because it adds energy expression. Okay, so we talked about experiential shooting yesterday. The fundamentals when we get into the con, except of experiential awareness Good. That is to understand and consider how our behavior, attitude and actions as photographers affects the energy level of emotion that our subjects project through their image. It's all based upon this really important concept that emotion equals emotion. So the last thing I dio to start a photo shoot would be to start with posing. Hey, come over here. Come over here and here. Tilt your head. This way. Here. Go sideways to light. Look over here. Hey, assistant, can you bring in the light? Okay. Perfect. Now, um, groom, why don't you come around and arms around the waist? Okay. Energy. Not up, Down, you know, now you gotta build yourself right back up. you need to be here at all times. It needs to be authentic. You are not allowed to bring energy down. Always start with motion and movement. So motion posing is the following. It is capturing images whilst subjects are in motion. Okay, subjects naturally fall in the position when they're moving. You saw it with that last example. Okay, It's actually not really posing it all. It's just moved for one place to another. It's easy. And by the way, you need to do a lot of it throughout your day to create transitions, don't you? You need to create transition images in story shooting. So it's required. Okay, It's organic moment maker. You mix it with other techniques that keeps it energy, Just fun, tons of fun. So I want to show you what it looks like. So exam examples so separating people bringing them back together. It could just be like this. I think I separate a little bit. OK, Hugs, oxides, cook. Okay, instantly, they're gonna smile. It's that easy. Can't wait to demonstrate it. It's an act, the act of doing something, and I'm just going to use some examples that I've used in the past. Hey, guys, instead of taking pictures right now, do you mind if I buy you a bottle of champagne in the bar? Perfect. Everyone's You saw the example. Everyone's singing their flights, their fight song. And, uh, yeah, Okay. That is motion posing. In essence, isn't it? The thing is, your often when people even walking towards me or whatever walking and I'm quickly getting like, I'm not even I'm just using the click to give them a psychological feedback that they're doing the right thing for image to a beautiful photo to be taken. Okay, it's even all never use any of these images. I'm using the click to get them to get them thinking that that is the most important. I'm using it to ratchet the energy up. Okay, So getting in and out of a vehicle doorway our space could all be motion Posey. How? Let me get that holding. Once I click. Click, click. Perfect. Come on. All right, let's go for a walk. Motion pose. A Okay, foreground background being in people together. Bride, forward groom. Background switch coming together. You saw that attrition Drew's book. First moment, a couple siege each other. They walked towards each other and hug. That is a form of motion, Posey, you're capturing that moment. Okay, by the way, you get that. I do a filmstrip of that. I leave my camera in the same place, all either horizontal or vertical, and then I go in for a closing shop click. And that's just told a story. Yeah, we got a question. You were saying that when you, um a lot of the times against when you were just pretty much just following them and out of a car through a doorway or something like that. You're not, actually. I mean, you're actually taking a picture, but it's not anything that you're gonna use. You just get them in the frame of mind. There was gonna be in use in a few minutes. Yeah, exactly. I may or may not, but I'm giving them feedback. It's something that's natural to them rather than posing them. Now we're gonna talk about posing. I call that act style izing. And it is the fifth and last thing on a list of five that I will do to bring the energy right. Once you get the energy up back in the high level or medium. Your loud you are allowed to do so, imposing according to the theory of the techniques of energy rationing. That's that's the time to do it. But never pose. When energies here or at baseline, you need the energy first to be up. I love your question, though. Yes, I will sometimes pretend and just all right, love like like like like love that it's a good thing to do at the beginning of the day. Okay, your energy in and energy out. So technique of cross walking. I've talked a little bit about this cross walking, walking across the page. Now, how do you read a book from top left to bottom, right? And so I wanted guide people into a new location in story. I'll say, Hey, guys, go for a walk. You just told you broad and you walk across okay, At the end of it, hugs, hugs, hugs. And they always like they hug right there is Ah, it happens every time. But those pictures, this 123 I could put it is a serious or just one image of them walking that direction across a background that leads you to the next page into the next part of the story. Crosswalk it easy. Micro movements. It doesn't have any big movements. It could just be like they're hugging. And I'm like, OK, OK, squeeze her heart. Le It happens every time. You know what I mean. I'm a demonstrate. This micro movements. It doesn't have to be big movements, but motion equals emotion. So important, etcetera. So here we go. Here's some examples. Motion Posey in action. Okay, three shots. That's your filmstrip. And it's a dip. And that kiss. And then I ran around the side and did a closing thought. Click. Three shots. Four shots. Boom! Done with the story. Hey, let's move to the next shot. You have them walking away from that moment. Got it? Here's another Siller. The example I showed you. How easy is that? This is cross walking. We're moving the wrong direction, but into the next door. And I would flip that in the book. I may have it going the other way if I needed to. Okay, that's form of cross walking. That's a single image spread a while spread, and it's symbolic for the end of their wedding night. They're going for swim. Here's here's a motion posing and that's moving into the next scene with this couple. They're going out of the door. And look, this the act of dipping in this couple very special couple. This is Jean Higa and his wife, Raja. Very, very special photography, educators and friends. This is their wedding and that active. And I'm saying about dip dip, dip, dip, big smile. Okay, remember that you're allowed to pose. But remember, the best stuff comes from simple, Using simple techniques, uh, separated them. She swings her dress. She's got great expression on her face here because she's moving motion to move it. Little dip down. I am laying on the ground and they dipped down towards me. Expression Here's separated, put together foreground background. Look at that dip at the end is that natural body language. It's not do a dip. The reason that dip was good because she ran up hugged him and then Okay, dip, dip, dip. Get your moment. It's not opposed. It is a motion and movement into it. And what a perfect transition spread. Uh, you could tell exactly where they're coming from. Right there, coming from you see the edge of the house. It's not the house. It's the venue they just got married in and all that negative space, which I composited in there, a new sky. Actually, it was the same sky from the day I shot separately. I needed Mawr area because the image was actually vertical. I need him or era. Have negative space. So you just want to turn the page and see where they're going next. Okay, motion Posey. So sometimes to get the energy I have people walk up towards this is a great way describing describe how to bring the bride of the players into the story now. So the bridegroom have some moments, and now I want to introduce the bridal party. I'll have the bridegroom walk up towards the bottle party, and as they're walking up, the bride and groom have their back to me. I say to the bridal party, I go, Hey, guys, here they come who and that energy from them is transferred back to the bride and groom. That's called group synergy. That's gonna be our next technique. I better go faster. So motion movement of bridesmaids motion moved with groomsmen, even if the photos you take are not even useful at all. You've now created this wonderful energy that will follow you into the next level of shots. So even do you see those were very basic photos, and many of them you might not want to use it all in your book. But you use techniques. Remember the act of taking pictures more important than actual pictures himself, Right? So I've created energy energy up. Even though those aren't useful, they may not be. It doesn't matter at all at all, because the next few shots will contain that. Amazing, uh, because I had energy ratcheting in mind. So look at that. Micro movements barely just kiss her hand. A micro movement. Any time you see wind blowing, consider how would affect the veil, the dress, play with that. Anything that moves, you're gonna get natural body language. And this is my example. I want to share. This is a stale groom. Thank you for asking, because this is that guy right there. Okay. Perhaps in theory, how he has that huge, wonderful connection between the two of them is she came up behind him under a subtle, prompt Hey and you're glad. Um, fast squeeze. He can't help left their smile. It's beautiful. Beautiful. So it's technique one. How we doing? Do you mind a couple questions on that? Yeah, I could do that for sure. Sounds good. Let's go ahead and start with one from de Rica. Do you ever show the pictures on the back of the camera to the client while shooting? And how would that affect the energy of the couple? Great question. I absolutely will, especially during the begin today. There's a couple shots that I will share you today, one of which, um, one of one is the bride's portrait, and we're gonna do one of those. Today I will show not only the bribe. Ask her. Do you want to see this right now? And would you like to see your ah, photo And And how do you feel about seeing photos in the future? And she'll you say I'd love to see one. Yes, and I will show everybody. Show her show everybody that although its energy rationing right there so usually in the beginning today and I say, tell you what every once in a while I'll show you. But for the most part, I loved you. Just have you be surprised. Is that okay with you? She said Perfect. And so all treat them to a viewing of a great image down the road. But I certainly want the initial reveal to be really special, so I don't want to see too many. That's a great question from our audience. We have another one from Wayne Paris Photography who says I don't want to sound mean, but some people are just not as photogenic as others. Not all couples look like they just stepped out of a magazine. Do you do anything differently? Creative wise for those couples that are not as photogenic as others? I'm so glad you asked because we have different scenarios that we must be good at us for tired, for me to be problem solvers. Okay, there are people that artist photogenic. But everybody looks good when placed in the right light. And you know how many times have I thought, Oh my gosh, when we meet with our couples, it's going to be one of those days. Were really need paid attention to good light and they will show up on their wedding day and oh my goodness, it's a entirely different person. They were photographing. We have to take in consideration no matter what, how the light falls onto our couples. OK, today we have. We have beautiful couples, of course, or models and everything, but I shoot a lot of plus size couples, and I love to do it. I love to use the light. Too slender Rise. My couple. I use hard light to do it. I photographed them from the side so that the highlight not just plus size everybody. So the highlight is small and the shadow is large, okay? And that, naturally slender, rises them. I also stand up on a lot of things and I get them down low, chin up things like these, these air techniques that I love to show you on our shooting section today, So that's what we'll do. Great question. Scene setting scene setting is wonderful. It's active setting, seen waiting for moments that happen naturally, strategically, creating opportunities for moments happen. Naturally, it's best one on unexpected must be natural fun and really I love scene setting because it could be the moment of champagne and wine. Hey guys, instead of taking pictures. Let's sip on one. That is a moment. Okay. What happens? What's everybody gets to the bar? I say, sit here. The lights Good. And then they all pose for you. And you say, No, it's not about photography, because this is about your, you know, time together. Walk away. When you come back, you are shooting golden moments. I set the scene for that moment. Happen naturally. So moment structuring. I'm sure the example. Hey, Limousine driver Park three blocks down the street for me. We're gonna walk to you. All right? I just created opportunity to cross the street and walk down the street. A moment structured. I could create a bunch of moments during that walk. Aren't create five or six spreads to walking three block to downtown Seattle. So scene setting future moment anticipation. Oh, my gosh. Has the groom's dad or is the bride's dad seen the bride yet? Okay, let's make a moment out of this. Okay, everybody clear the room. Okay. The bride and mom. Okay. You ready? We're gonna bring him in. The dad walks in because you cleared the room and you set it up. Used your voice. He walks in. Oh, it's beautiful. It's beautiful. And you don't You just got expression, and that's what we're after. We hunt for those moments. Expression cells are so pre plan it. You gotta think about it. You're you're no longer picture taking. You are pre planning arts. You're thinking about that stuff. Of course you have to do it. Here's some examples. This is coffee shop. You walk away, come back there, all busting out. I motion posed them into the scene, by the way. So here's what we saw yesterday. Remember this moment? We've got champagne. You guys saw these the spread yesterday, so I won't talk too much about it. But this is the same bridal party. Okay, this is the limousine driver. I said go down the street. So we had to cross the street to make a moment about it. This is literally cross walking. Literally. But the lights turning, it's gonna get green. They're all cracking up or motion posing. I've done this technique in eight or so years, but it sure does work that it coined the word cross walking. We saw Emily and Marshall's book yesterday. This was a scene setting with Hey, about to get, you know, sit down and sip some coffee and they have this loving moments natural to them. This was a moment where I was out there trying to capture this lightning bolt captured a couple times the moment Waas I wanted to photograph the wind. Absolute came rushing through and I loved how the veil was. I knew that winds wind unveils okay. And I captured this lightning bolt twice leading that beautiful portfolio shot behind us. Baltimore 2008 nine, 2000. This was a scene setting moment. So I knew, wind unveils if I walked towards if I have the bride walked towards that wall, the wind is going to take the veil and do something with it. Had I'm not a 1,000, years, but I think it form a heart. But that's what I'm talking about because I'm story shooting because I'm using these techniques that make expression emotion. My portfolio has exploded with unexpected moments. That's what I want for everybody watching today, utilizing the group, utilizing the group for the energy. Okay, encouraging the energy to be derived by the subject or group. It could be come from the public predicting the reactions from the public. If you're downtown Seattle walking along, you're gonna get people going. Hey, congratulations. You're getting married. You look beautiful, sweetie. Did it A. That is energy rationing. Okay. We must have previously gained connection and trust. It is about fun. Expression, expression, expression. You got to try this. Okay? You just got to take advantage of its already there for you, right? An example would be putting the fun player set the tone. I'm gonna do this today, tone setters. Hey, let's do something. You're the fun person you go first. That person's like, Okay, take a picture of this. Who and then everybody else has to follow the lead. They set the tone. Okay. Subject B photograph is influenced by the surrounding group. Okay? Simply asking. Sometimes you say, Hey, turn it up. We're gonna have some energy. It comes from you. All right? You're the seat there. The energy. But most often you wanna let that come from the group, you could say Hey, hey, my friend, the fun person brought a party. Hey, make everybody laugh, and he'll be like, I'm supposed to make everybody laugh. Oh, and everybody laughs. Right. So um, it's not from you, is the point. It doesn't need to be from you. Sometimes. Just ask for it, though. Everybody hug each other, crack it up, have some fun laughter, laughter, and they'll do it for you. But you have to previously gain their trust, right? So take advantage of public opportunity to tease the public produces so many fun and synergy moments understanding it's contagious. Playing with the players. Just allow it to happen. Okay. The cease of examples. Okay. The energy here, if you could see this energy in the left. Photo between the bridegroom came from the group around. And then if you pull a group shot together real quick on the right, the energy states Okay, here's a little filmstrip. The energy there being cheered on from the background. And then you quickly do some close up. The energy stays. Okay. This is that first book I learned about. Remember? I showed this yesterday. Emily Marshall again. Couple sides Agos. Emily Marshall. Same deal. The energy is being drive from the group around them. That's why I always go out with the entire bridal party. Not just the bride and groom were gonna do that today everyone's together energies together. It's not just me. Okay, so she's laughing during this bridal portrait because I have the fun, goofy sister in law egging her on. I encouraged it. So groups energy is there. You just have to let it go. Instead of taking a couple of photos of of the just the kids together, the bride and groom getting plan to get the energy up, I learned groups energy from photographing Children. I learned all about it from kids. It's so energy, so contagious. Just let him do it. Let him be part of that. It works for adults, too. It really does. It's got encourage it. And you get shots like that. Just fun. Joyful, playful shots. Okay, I check this out. This is motion posing and groups energy put together. So noticed the groom is on the very right side of that image. You see his hand coming in? Okay. Next shot. Hugs, hugs, Doug ago, boom, instant energy, instant riel expression. And the bottom part is just a you know, they knew is that's what we do. And don't get me wrong. We don't We don't to a lot of directing and prompting all day long again, we give bunch of breaks between stuff. So hey, let's do something real quick, bridegroom. Get to get a boom boom boom Click could click tell a story and then you let the group relax and play during these experiential weddings. Okay, so next technique, I'm gonna move right along here. Well, I talked about this yesterday. Remember the dancing? And here's some photos related to it. We let the energy from the group from the public around create that expression. Emotion makes for the best wings ever event emphasizing making something out of nothing, turning a simple task into a moment or a simple task or moment into something photographically special. It's utilizing spontaneous happenings. It's less replanning mawr embracing of natural moments, embracing of natural moments that we may have overlooked. Okay, quickly. Few examples. Groom trips and falls. Uh oh, no, the groom fault. No. Make a story out of it. Okay, Get in there. Like Okay, Brian, jump on top of you know, it's like things that happened during the day that are unexpected. Make a story out of it. Don't stop and pick him up. Take it. Take pictures of it. Everyone laughs together. It's fun. Grooms have been helping them get getting ready. That's one of those event emphasizing Oh, yeah, worked out here, you know, Give him a little love, giving him nudged. You got what the guys do so avail flies in the air. This happens a lot. Who, My gosh, Maha, look at this moment perfectly could click. That's how the heart shaped veil happened if I overemphasized it. I went crazy when it happened, and then they brought the energy up. So first moments are yours. Event emphasizing moments, etcetera. So here's some examples quickly. So the veil flew up in the air and it landed on the first Brides Maid were like, I'll go with it. Poor little over the top. Yes, love, click and you get that. Okay, so he just in a moment between shots, he picks her up and I'm like, Click, click, click! Boom! There is the moment I'm like work that twirl around. Even so in this shot, we're setting it up like that. She's struggling with the veil. Make a moment out of it. It end up to be a filmstrip. She's trying to get it ready for Ah, some something. We're posing her into perhaps making moment out of it. Instead, it's the struggle. Here's another one. Another veil shot. Oh, this is Remember the example? Event emphasizing is, Hey, the bride has your dad's here. OK, clear the room. Thats example of this so that the mom hugs the mom hugs the bride. The dad comes in, loves everybody and they all cry because we set it up. And do you think they wouldn't have this in their book? They have to have this in their book because Israel moment, you just helped it along the way. And you know what? Every once in a while, you get couples that want to be goofy. These aren't I'm not showing any portfolio shots. I don't feel like we need to do portfolio shots. I'm showing you the type of shots that people value in their art. This is one of them. This shows this couple's personality, and that's how they want to be seen. I let him have it. I emphasized the goofiness of that spread, etcetera, and here's one last example. All rainy day. We're entering the church. I need to transition us into the church emphasize that it's rainy, actually put the sky back in this image and had had the bridesmaids walking reemphasizing that important moment. Here's another veil shot you saw this yesterday, and now we're into style. Izing style izing is creating a gorgeous wow moment by offering a little bit more direction. This is posing. This is not required and everybody style. But for most of us, we need to do this. True photojournalism does not use a lot of posing or directing or prompting, but the rest of us intermix it different levels according to what our bride wants from us, and I doubt my style and amount of styling I do with each and every wedding. We again, we want our clients to see themselves in the photos and not how we want to portray them. I no longer have 50. Campos is that I use. I instead read the group, read the bride and groom, learn what they're about through the complementary engagement shoot, and I adjust amount of style izing ideo for each and every client. It's not about me and what I wanted, it's what they what's appropriate for their personalities and how they want to see themselves. So it's creating great wow moment with more directions. Okay to do most of the day if it's okay to do. If most of the day is filled with natural moments, you've gotta have some diversity and you gotta have some heart stopping shots and some of these need a little more direction. We don't start with this style. Izing is posing, and I have told you the first thing you should always do is motion posing motion and movement style izing requires direction, which lowers the energy its energy ratchets negative. All these other things bring energy up. So no, start with energy reducer. Do not do what the group is occupied with an experience enhancing activity. Do remember when I'm in the barn some of those shots a little bit back on the video showed yesterday. Everyone seeing in playing, that's a great time to take the bride and groom and do some stylized because the broader part is being completely taken care of. Everyone's having fun there seen, and we walk upstairs and do some bigger, you know, dramatic moments, you know, using video, lighter, off camera flash or whatever. So examples posing, bringing in light that's stylized, direct directing them, where to walk and what to dio using your tone of voice and body language to generate a look. You are interjecting a lot in that point, the rest hours on the side, directing kind of doing it through these people or the people in the street. Now I'm directly to the bride and groom. I need to do the following Okay, various prompting in directing. Here's some examples, and it's not always You wouldn't think this, but I asked them to walk out and go in the field and hey, put the veil over your head. Definitely stylized moment. Let's cue the jet airplanes in this image. Um, no, I knew that they'd be doing airshow down the hill there, and I had him run out. So I get a big shot of that compress with a long lens into that air show. Okay, let's this is I call this my romance novel shot. Um, guys, have a seat on top of that rock, and I will bring an external lighting and we shall take a picture. So that's it's a beautiful image. Get the coast guy and how we balanced it with the off camera flash. It's lovely. It's definitely style izing. Okay. Having them walk to the edge of the cliff cliff of Death certainly is a form of stylized. Don't get too far. Actually, I didn't tell you something about this image. It's only that big. It's a I stretched down this and filled Roxanne and stuff, and I needed to be a single image spread the end of the day and we have all that water was created. Okay, More style Izing, stylized walking on the bridge style izing by putting light behind all stylized. Okay, all of this. But we need to do We have diversity are images don't way a couple more. Here's Tricia Andrew Fireworks setting it up off camera flash in the foreground. And finally, I got a lot examples of this section. Okay, so the goals with light we need to talk about light before we shoot. We're going to have lunch, Then we'll work with the light. So light is the tools. Ambient lights are aunt lamps, overheads, wall sconces, windows. We got in everywhere, everywhere, track lighting, fluorescent All around this place, we can use these hot lights that are here gear car headlights reflective light. There's so much like it is fun if we know what we're looking for, okay, but we need to isolate it to make it really good. Okay, isolating things flashes troves off camera flash or on camera flash. And certainly Strug's okay, I don't use a lot on camera flash at all unless I'm bouncing 11 of my cameras bouncing light at at a reception. So artificial continues. That'll be hard directional spotlight and a soft a few. So my gun light and my eye slight that will be using okay, using the light, their side lighting. There's so many ways to use a light backlighting, rim lighting. Ambient, subtle. Okay, soft, diffuse, hard lighting spotlighting and mixed. So combination advanced. Hopefully get to combination advanced today. There's definitely a lot of different options in this room. So here's how you use it. It's real easy, and it's in this order. First you're gonna find the light. I'm gonna use my hand. I know so many people that use their hand to find light. It tells you where the face should be. Okay, right there is the face you could tell from from that you want the light to have shadows and highlight. That's perfection straight down like this. I'm right now because there's two lights. Us, This is flat light. We're gonna talk about all of this in the beginning, Next section. So you find the light, you put the subject in the light, you give them a reason for being there, and then click. Okay. Got to get the expression. All right, so that's where all these energy ratcheting techniques are so important. OK, so if you have no light, what do you do? You find a background element. That's interesting. Could be this wall, but there's no good quality light. Feeling your subject. You do the same, though. You mold your subject to the element. Okay, How you want them against that element. Okay, You create a foreground light would be video light to be one light, and you could do rim light from behind if you want. So you create a foreground light and you give them a reason for being there again. And then you click. You gotta go for the expression. A hug. It could be a micro movement. Ah, micro motion post squeeze, click. That's how it's done. by the way, might. When there's no light, that's my favorite favorite favorite. I like Teoh. Just bring in quick, quick lights, hot lights. So we need to understand what subtracted lighting is. That's what I'm going to be doing over there. There's gonna be multiple lights on in that room, just like when we enter. Uh, we're problem solvers as photographers who enter room. There's overhead lights is a flesh light. There's window light. What we dio were turned off the noise so they could see the natural first. And then we could start bringing things back so attractive lighting and then bring things back. Okay, so here's a no light scenario attrition to this just video light. There just video. Let's just video light through, bypassing a video light through a fern to get that pattern on the wall and light on her, pick up a firm, put a video light through it, and I put a formed her into that light into lovely pose that that's appropriate for her body type and then click. There's an example. The same thing from the same hot light is the gun line from the side. Okay, there's nothing here but a wall for all these spreads, guys. Okay, this is Tricia Andrew with the puddle giving the reflection. The puddle is that big? It's that big, and it makes that huge. We actually did some shots like this in the bonus video. How do you use this silly little puddle that create a reflection? And then there, backlit with a gun line and the foreground lights the street light. So all we had there was this red wall. This is an example. Rim light from behind foreground from a street lamp. Okay, there's nothing here but cigar smoke with light behind them. And I used my IPhone to reflect light off of my hot light. That's from behind back into their face. Okay, that's two sidelights and another light through a fern to create that pattern behind so unfortunate locations. What? What do we do if we have a first church of ugly ville? Bambi says it. Here's what we dio. We use light in depth of field. Okay. Depth of field is so wonderful to is so wonderful. F 1.2. We don't need a good location to create sellable spreads. Guys, we could be at the worst location ever. Just good light would just have to have things lit well and use a simple background. Just showed you a bunch of examples that had no light at all. This is in a dark bathroom. This 1st I just took him into the bathroom is just a little bit of ambient light from the window. And that's it. There's another one just like that. Another one. Okay, all we have is the translucent door. We have transition glass above us here. That's just the same stuff. Same stuff, easy. How about just a rim light? You see what I like dark locations. I'll just turn off the light. This is incandescent can from directly above, and the way you get the broads face into is give her reason. Do that. Have a chin up? Why would her chin via, well, maybe the groom's tinker her neck? Okay, maybe that's appropriate way to form them into that light. Right? Or just. You guys realize even if you're the worst place, worst light or start, where's location in the world, you could always shoot down. The ground is always beautiful. It's always texture, all right. Another example. Another example just okay. This is a strip of red, red glass. It's that big. And all I did is past light from behind and put them in a silhouette place and that I stretched it over to fill the entire spread so I'd have a single image spread that I had room to put their names on. That was 2000 and seven. Okay, guys, we're gonna be shooting just like this. This is a type of light that we have today, which is the window and a wall. I want to create themes to based upon that can't We don't need perfect locations. Just need to know to use it. Oh, he talked about shooting to the ground. Why not shoot to the sky? It's gonna be the right time of day. Or we can power down with an off camera flash, but she need the skies. Wonderful. I do it all the time because we get these puffy, ominous clouds here, and I love to photograph those. This is a nighttime shot. Um, foliage shooting to the sky again. Still, the wedding people doing real tight with a narrow depth of field photographing, just compassion. So I need to wrap it soon. I know I could probably wrap it right here, but real quick. I'm looking for themes, color, texture, pools of light, etcetera, directional light. That's we're gonna be looking for here. Diffusion lines, symmetry, depth of field, Shikhar photography asked. I had a hard time convincing couples to see each other before the wedding. Can you touch on how you get couples to do that in general? Can you touch on how you shift the couple's wedding day plans to include the storytelling opportunities you want. Yeah, well, we've been We've been subtly moving. People Teoh the style by visually showing what it looks like. And yesterday, talking about the experiential style, we have not asked them specifically. Hey, would you mind giving us a seen each other beforehand? We actually show them with the art that we've produced from previous couples who have decided to do just that and visually showing them. They consider they look at all the additional wonderful stories that have in their book. Well, they've got to go downtown. Wow, They have had timeto have a glass of champagne. Just relax with one another. It's part of the special style that has enabled us to convince people to see each other beforehand. And if not, we just say we need a little bit more time between your ceremony and reception, okay? And we're gonna photograph you separately. So we've worked around that for couples who have it. But for the most part now, in Seattle, most people don't mind seeing showed before. And that's because the art that were producing so and the second part of that question is that it? I think I'm just in general. How do you like shift people to do what you want? Like you said you like, suddenly talked to the limo driver. Why is the limo driver gonna listen to you instead of the bride? Yeah, yeah, it's It's, you know, it's the way you please present yourself. It's the way you present yourself in it and also letting the couple know, Hey, we're gonna be developing experience on the day that none of us planned for Well, let the light guide us and the opportunities guys, I often say to them, Let's not even plan where we're going to go, what we're gonna do, Just trust the experience and they got you know what that sounds great. I will. I will trust experience and we will let the light guide us throughout the day. And you know what? The best weddings air that way. There's experiential weddings that we've been talking about, so I hope that works for you guys to

Class Materials

bonus material with purchase

Foldable Field Guide
10 Steps to Success

Ratings and Reviews

Ester Knowlen Photography

LOVE LOVE LOVE all the bits on how to create a wow shot without stressing about getting it/catching it by chance. So SPOT on!! A little bit of planning, a little bit of vision, and great ideas/recipe for amazing "wow" shots that are prompted and genuine (unique just like the people we shoot), rather than stressed over and chased. :) Amazing video!! :) Thanks Jim Garner!!

222 N 43rd Pl

This is such an amazing course. It is my first purchase that I have made with Creative Live and I couldn't be more pleased. Jim shared so much information and so many insights. It's great to be able to watch the segments over, picking up something new every time. Taking volumes of notes! I am starting to implement Jim's approach to photography—storytelling. I am just starting out in wedding photography and am so excited to have found this gem tutorial! I would highly recommend this to any photographer who wants to take their work from photographs to art.

Student Work