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Location Night Shoot

Lesson 36 from: From Images to Art: Storytelling in Wedding Photography

Jim Garner

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Lesson Info

36. Location Night Shoot

Lesson Info

Location Night Shoot

Hey, guys. So I want to introduce Tricia. Andrew there. Obviously a lovely couple were excited to photograph in the hole. Purpose? Can I call you guys? My friend? We've really had a great time getting know each other through the process. We're thrilled to be photographing their wedding, and I am really excited to share this opportunity to photograph him tonight. The whole goal of this experience is to learn the style of one another. I want to create pictures and images for them for an album that they're going to show at their wedding day assigning book. Okay, so we're going to shoot a story we're gonna use. Storytelling techniques are not gonna pose them so much. There will be supposing we're gonna obviously work into the evening. It's gonna require a little more directing on my part, But regardless, it's gonna be a ton of fun, and and we're gonna play, and hopefully this will make the wedding day even more special because we know each other. I just want to run you through what we're u...

p to right now. I'm shooting the canon one DX. I'm using my daylight lenses, which are the 28 series 72. 200 to 8. 24 to 70 16 to 35 at all in my B x two pro shooting bag. Use this bag cause it's super fast. We're gonna use a lot of motion and movement. I'm gonna be shooting an aperture priority mode which allow my camera to make those adjustments for me The goal of this part of the shoot. We're gonna work this into sunset at a new location and then move to evening shots. Nighttime shots. We're gonna bring in off camera flash External lighting such as video lights. Could be a lot of fun. You're gonna love this couple have gotten, had a great time getting to know each other. Patrician drew a ton of fun. Hopefully we get some good locations. Find some beautiful lights, have a blast together. So stay tuned. Tricia hugging is fast. You can go. Go, go! Get Get! Get, Get, get, get! Get beautiful! Oh, my gosh! Lovely Love, love, love, love. I love what just happened there. They do that himself. All I did was separate them. Have them come together fast. And they decided Drew decided to pick up. That was not prompted by means for them. That's how they're going to see themselves in that photo. It's their moment, not mine. I just helped it along the way. Kiss her right on the floor for you. So just to describe why I told Drew to close his eyes is because Tricia was in a loving moment. Andrew was in a posing moment by asking to close his eyes. His smile naturally went to something more subtle, which was perfect for the image with the two of them together. That was the idea there. All right, now you could smile. Let's see it. Come on, let's go for a walk. Come on, guys. Okay, again, I'm shooting. Shooting aperture priority mode right now. Let the camera do the adjustments I'm at I s 0 500 Wanna have it fast enough to shoot in the style, but not at a lot of a lot of grain from being too high. So So 500 appropriate for early evening light at guys were just the answer. You're spending so cute. Do it again. So, wide angle lenses it f four. Everything is going to be sharp. And this is a hit or miss technique but super fun. And let's see you two together. Beautiful, gorgeous. Alright, love. It's our signature pose. I love it so I could see where my focus points landed. I believe this display on so you can see it. But the point of the movement, the motion and movement was to create the real expression. Had I just posed them in this position, expression wouldn't have been riel the dancing emotional movement First, even though that was a hit or miss technique And I most likely missed it cause I got a camera on me right now. No big deal That shot afterwards is what matters. So we'll see the real expression of the image. Not how I say, Hey, hold each other and laugh. Know they did that naturally because of that motion that was right before. So what we do is never preplanned. I find personally that I'm more creative if I just let the light guide me. So as we were walking and watching the light, I used my hand to tell me which direction the face of the subject, which is always the bride, by the way, always the woman and the groom or the husband or the fiancee is always an accessory to the bride. So it makes it really easy to pose. What do you find? The light. I turned the bride away from the light with their feet and then turn back in. That's how easy it is. So let's demonstrate that. Good, good, good yet and separate feet just a little bit and looked back towards me. Good. So right now I have the side of her body. The light is hitting her perfectly. And now we'll have to do is get a groom in there. Very easy to do. Drew, Come over here and you're gonna get right there. So I'm giving her a place to look for her light. Her idea. She's looking towards the light and looking towards the groom. And now we could go in and shoot like crazy, every direction possible. Watch. Beautiful. And you're gonna kiss her right back by the year. Okay, gorgeous. I love that moment. Good, good, good. It can work all the way around. Now I'm back lighting. This is all about Drew. And you close it off with a different look. And we got the shot until I'm gonna give them a reason for leaving this moment. That's storytelling. All we need to do in storytelling is described how we arrive and we leave a specific location. So you guys are gonna walk this way, I'm gonna snap a couple, and off we go. Forget about me. Just be together. Beautiful. Okay, We've gone 10 feet and I'm seeing a new opportunity. There's opportunities everywhere. The light is the guide. But right now I'm thinking about a theme of a spread, and I'm gonna create what I call a filmstrip. I wanna put a Siris of images together, and I'm gonna have a closing image toe put be on the very right side of the spread. So image, image, image, image, and then a closing image of that story. What I need to do that the theme is gonna be one wall, one location. You find good light. You put your subjects in the light, and then you do things with them to form that filmstrip. I'm not going to move my camera. I'm gonna keep it in one location and they're gonna move within. So, guys, this is all this is our theme right here. This wall guys are going to do is walk towards it. Walking is the storytelling component. Little 12. While you're on your way I love it. So now we've given them motion and movement, which will lead to expression. So in this particular shot, I'm moving to manual. I want every image in it. Every image I take to have the exact same exposure. Okay. It's no longer the sort of spray and pray technique with average of our priority. This is definitely going to be put in the book. It will definitely be used. And each image I just wanted to drop it in the exact same exposure or not have to adjust each and every image. So right now to eight, I could be wide open. It's starting to get darker, and I'm gonna be a to 50 of the second I. So and plenty. Perfect. Take a look at the scene. This will be the filmstrip area. Okay. And then I'll have a closing shot left a little bit right there is perfect. Look back at your broad. Beautiful Trish, Come get him hugged up in his arms. Go, go, go! 2 12 to 12. I love it. All right, perfect. Filmstrip number one. Now we're gonna switch. So, Drew, you go back there now. Okay, So I have six, even seven images on a put together as a film strip and then have the closing image went in much closer. Okay, It's important to switch directions, change your lenses out, But I know exactly how this is gonna be laid out. Six or seven verticals and one closing. Horizontal. Awesome. Okay, running hard. Love each other. Go, go, go on a closing shot. Okay. Do one thing since we can. Quick, I'm on the 16. Right now. I'm just doing a backlight shot of the same thing we had just to get a slightly different direction, and I'm gonna have him walk down the stairs. They had kiss in the middle, you to perfect as you're walking. Just keep walking. Dig it. So they have a loving moment backlit, and then they very important to have them walk out of that moment so we could put them all together in a story. So the light is changing. Its the sun is getting really low. We're gonna go to another location right now to the beach. We had West and catch that evening. Sunset light. If the sun goes behind the hill, it doesn't matter because the best light happens 15 to 20 minutes after sunsets. Give me beautiful Let's go! I would in a new location. This Golden Gardens. This is a great place to catch the Sunset Beach grass or sand eels. It's wonderful. It's a lot of people here now. It's kind of first of spring. We'll work around unless you tight with the lenses. By the way, we're shifting everything out in my Brenda. Heaven be X two pro shooter. I've switched to crimes now and I'm shooting at eso 803,200 even will go to wear currently shooting of the 85 12 I'll be shooting the 24 millimeter 20 24 millimeter F 1.4 and finally tried and true 50 millimeter one to have tape on here. So that does not fall off. And finally, instead of the 72 200 to 8, we're gonna move to beautiful 200 f two. Okay, great low light. Lance. Not everybody has this great lens to rent. Obviously, not everybody has this very special lens. It's a great lengths to rent an experiment. It's got super narrow depth of field. It's absolutely beautiful. So Karen right now is holding. The lights will be using. This is the ice light. Okay? Very. It's a wonderful way of giving a window light. Look to your clients will match this with the background. I have the tungsten gel on this ice ice like to match the sunset. Okay. And finally, I have the Lowell G l one. This is a very powerful beam of light with Purnell style lens. I don't like care up. You see that? It's beautiful, beautiful life, but even better or rim lighting. But you could see there all about we'll be using. It's starting to get Dark and Tricia Drew are with their second outfit. And off we go, let's have some fun. So we're using off camera flash right now. The light is perfectly balanced. Gorgeous quick couple of snaps and then I'm gonna close it with a natural silhouette against the sun. Set itself notice now that the blue skies coming out it's called blew off. It's what we call it in our studio. Hey, blew up happens. It's probably a 15 minute process. Writers loss happens were switched modes completely. I love that blue fashionable look. Right now it's flashing to show you what this looks likely would go to video right towards life. Yeah, press the right here. Got a good life behind. So then we need to close the shot. Care want you right here. The light is gonna bounce off through on it. What? The light bouncing off. All right, well, it's been a beautiful sunset with a lot of wonderful things. Not all of it. We could put on camera cause I needed to move quickly, get some great shots of the two of them, were gonna show you those talk about him later. But right now, we're gonna move on to our next location, and that is the Pike Place market. We're gonna be utilizing light, ambient light from the neon signs, the lights that they're inside the market to create beautiful images for us. In my opinion, this is the best time of day shoot. After the light has gone down, things become more movie more beautiful. And also differential differentiates our work from everybody else's. Because not many people do night shots. So here we go off to, like, this market will see you. Okay, so here we are, the next location. We're down a Pike Place market. Hey, just want to let you know, right? The end of our last session at Golden Gardens. We captured a couple images after we packed everything up. Beautiful shots, attrition drew, sitting against the sunset, Another shot of them up against the trees with the background light being the gun light, the foreground light being the soft window light look of the ice light. And finally, to describe how he left that beautiful park. I had them walking towards the camera in the car. He went, and now we're at a new location. Pike Place Market. It is full on dark out. But that is the light that we're looking for. We're going to use the ambient light from the things you see around us. Even the wheel that's behind me right now. That's a great Seattle wheel. We have all of these neon signs. We have lights from the street. Lamps were used as much as possible. If we don't have foreground light, like in this case, we can use, um, cares right now, holding a light on me, the ice light and we're gonna rim lighters again as well with the Lowell gun like the Geo one, which I love so much for this type of shooting again. My lenses. I'm at 1600 eyes. So with the fastest lenses, I have the 85 millimeter one to the 50 millimeter 12 and the 24 millimeter 14 So I'm always considering the experience of our couple at the moment weren't entirely new location. You may have noticed that early in our photo shoot, we had very little posing, mostly motion and movement. Sure, we did some things to describe how to do these poses, but usually early on, I used that motion movement to create the energy and joy because I know later in the evening my energy will be high. It's called energy ratcheting Later in the evening, that energy will still be there for when I stylized them. We have no choice but to bring an external lighting, really pose the subject, work with fast lenses and dark so it tends to bring the energy down. If you started with the energy at a lower level, it will stay there and you'll get images that have no or very little expression and very little joy. So we have Trish Andrew, they're having a great time right now. I know now the energy's high enough that we could style eyes a little bit more. And bottom line is, we're here to have fun. So we have the 200 of to and behind them is the great Seattle wheel. I'm gonna compress them right against the wheel. We're gonna use the foreground. Light is the ice light the window light. Look, it will appear to be from the ambient light around us from the streetlamps. The back light will be rim from the loyal The Lowell, um, gun light the G 01 This this is a great look. OK, I'm using a long lens so I can compress them into the light behind in the great wheel. So let's do that. First, I'm gonna get them looking as if they're walking towards the wheel, and then I'm gonna photograph a loving moment. Okay, so you guys just faced the wheel, hold hands and look towards it. So I have the wide shot of the two of them and Now it looks as if they're walking towards the wheel and then they stop and have a loving moment. I'm gonna get close and finished that shop. No, my gosh. Beautiful. Good. Just a girl. Oh, there goes beautiful. He did go slightly closer and bring light, please. Here we go. Door just guys. Because I love this, and I'm having way more fun. Gorgeous kiss that goes cheek. Absolutely lovely. Lovely, lovely. Okay, so we have a beautiful shot of them pushed into the wheel, which is about, I don't know, a mile away. And now we're gonna change our lens completely. Going to the 14 are gonna walk him out of here completely different. Look, all right, this is a lot of fun. We have actually quite a bit of light right here. I'm seeing the best light is coming off this laugh. That's above me. And I know that I have a beautiful scene that says we're entering Pike Place Market. So Trish injure. Get across the street as they come will give him a subtle command that's natural to them. Okay, We're gonna use lies their motion and movement to have them fall into a natural fund post. Okay, oppose. That is completely spontaneous. My hope is that we get some real live expression, and this images will be later shown in their album. So we're using motion and movement again to create the expression the fund, the joy that will be push us into the next image. This is also what I call a transition spread. It includes images of people walking from part of the screen into the next part of the screen from part of the campus into the next. It suggests that we're going to another location. Tons of fun. Let's do it right now. So we have lights coming down this way, guys, just go for a walk. I'll take pictures of it. How you doing, officers? Good, good, good. Okay, spinner, like your dance and have fun. Guys got to go to go gorgeous, gorgeous and looks like drugs cooled. Perfect. And let's go for a walk. Just walk away. We're all having a blast. We just noticed that there's not a single person inside play. Chris markets how it gets at night. Everyone, all the individual markets will go away and you get people cleaning it up right now that there's water on the ground, which makes a beautiful reflection. If you could see that back there. But these rows of lights fantastic. You can only find it here like this at night, and there's so many benefits from shooting in the evening. Invest in equipment, invest in your skills and you'll pick some of the most beautiful. You'll get some of those beautiful images of your career, so I'm switching to the 200 millimeter F to the 72. 200 to 8 would be perfect for this lighting scenario. There's plenty of light. Here are men servo mode. Since they're walking away, I'm changing my settings. F two will start it at 327 seconds. Go to 400 seconds. 400 of a second. I take a test shot. You see the ambient? There's nothing blowing out there. I have detailed throughout is a guest exposure, but we nailed it. So this is national and Beit. I'm now gonna fill care is gonna fill with a little foreground light from the gun light, and we're gonna finish this image off. So I'm doing a lot of profile shots with the two of them. It's great to rim light around the edges. If your client has beautiful profiles, often and more often than not were were asked to photograph plus size couples and we should celebrate those opportunities. It's just a different style of a photographing in those cases. We want to make sure we're above our clients. Often they can get low weaken, stand on things. Things such as that also having them leaned forward more brings their chin up So I can demonstrate what I would do if this couple of plus size What you guys hold hands just like your dance. You look towards me, heads touching arms around, snuggle it up okay and lead towards me. And we got the shot foreground. Like beautiful. And now let's shake it up. Tricia. Kiss him. Love him. Get him! Beautiful. OK, forget about me, Mr Love your bride. Go, go, go, go! Go! So, one of the most important shots if Europe I place is to have a background shot of the sign obviously that's a night shot. The signs Aaron Neon. And so I always like to work into it, starting from the foreign and working towards it and finishing with the big while closing image. We have two things to do We need to demonstrate that were Pike Place Market and we need to finish up with something that we could stretch across an entire horizontal style spread. So I need a wall shot as well. And that's what we're after right now. So we're gonna go for a walk, find some light along the way. I have new idea. We're going to do well. Let the light guide us, moulding our subjects in delight, and eventually we end up with those key shots to close out the night. Time provides opportunities that you could not have during the day, working with these little pools of lights or literally working with the little pool of water to create reflection. So during the day they would be very difficult to have a dominant reflection. But using a rim light, I get down really low, and that thing looks like a mirrored lake as long as you're close to it. Using the wide angle lens, the 24 millimeter 14 was able to produce a transition style image that will take our clients are subject attrition drew from the last shot into the next shot through an alley. Can you guys kiss in the middle of care? I'm getting a little closer and I go way back for one more way, way, way back. But keep it pretty hard and spread it out over the whole body, if you can. There we go. God, that's great. Got it. Big time. So I just talked to my friend. The taxi driver here is waiting for a fair, and he's gonna be my light source for my next image. All right, so he's got my his lights on and off for go. Alright, guys. Little dip, beautiful lavage. And forget about me. There we go. Gorgeous, gorgeous. Let's go for a walk. Beautiful shot. So so important for me to talk about what I'm looking for As I'm shooting, I need you to all know that for every single story that we create every single stop that we make to play with the light, I'm thinking about how those images will be put into the story format. How they will create a theme in this particular moment. My mind is on the lines. I think it'll be really beautiful, like the shops are all closed. People are taking out the garbage. This is a beautiful time to be taking photos. These lines can be stretched across an entire spread that become the theme for entire spread. Even two, even three spreads. So we could do a little moment with the bridegroom foreground background. They could be having, you know, a side moment here or down the line moment here, both of which can be seen his different spreads in the book. We have beautiful light coming in from the street lamp here. I see my hand. My hand says that Tricia's face should be facing me this direction. So I'm gonna put her back against the wall and then tilt your head up, have a closer eyes or smile will go and get a beautiful image shooting down these lines. Okay, beautiful. Close your eyes just for one second. Chin up just a little bit, okay? Beautiful. Yeah, I got a vertical and a horizontal. I said me just for one beautiful shot. I catch lovely images and now we bring in Drew. She stays Exactly how she is. Drew comes in, snuggle up to your bride. How about how about straight on it. Yeah, gorgeous. Nuzzle in, guys. Have your moment. Forget about the camera, Gorgeous. So I started with Tricia. I went to the two of them. Tricia didn't move. And now I'm just trying to get to step out. I'm just gonna get your man, okay? All right, brother. So different from from a girl you'd put her back and tilt your head up. True. It's just gonna lean against it, do his true thing. It always looks give a true Yeah. Why did that? Very loving one more. Are you ready? Very. 123 Good. And run to you. Good to go back. A little bit of one of the more. There you go. And you're gonna tilt your head that way. Beautiful. Hey, Tricia, Go get him. Go get him. Go get it, Get it, Get it! Get again. They They're beautiful guys. I love it. So in the last few shots, I've had them walk away from the camera. This time, I'm going to get in front of them and have them walk towards me to transition out of the shot. Okay? I'm just get go ahead. Go for a walk. Beautiful. Kill is kiss the hand of the hands. No, uglier. Come on, have some fun, guy. Okay, Have a little twisted turns. Now they're ago. Perfect. Perfect. Perfect. Gorgeous. That's what I'm looking for. Georgia's And a hug. Hug, hug. Hug xxx Beautiful. Very nice. This has been a really, really good time. We've had a couple of locations. In fact three. We've been shooting for a couple hours. I really am right now thinking about how toe close this book in a really strong way. We need to do the signature Pike Place market shot, which is in front of the sign here. And we needed to say the end. It needs to be closed with a single image. Strong, strong, spread every single time. So let's do that. The shot I got just now was with the 24 millimeter 14 toe wide angle. I'm now gonna close this with a strong shot right up and get some throwing on the 85 millimeter. This thing all compressed it right up against that color to give a different perspective. And close are our book guys, You could look right towards me. Okay, So for some of you out there, You might be starting your career and photography. You might be just now learning your craft. You're investing in equipment. You're wondering what to buy, what I should do. I just want you to consider a few very important things. And that is the motion of movement that we used tonight is what created the expression. I want you also to recognize that using ambient light lights that's available to you is the best light always to use because you could get in, snap your images of get out. I want you always to consider the experience of the client being even more important than the app active capturing. Make them your first priority and you'll always, always, always win. So we hope you enjoyed. And we hope you have an opportunity to practice these skills yourself and reinventing. Thanks so much, guys. Oh,

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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.

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