SkillSet: Wedding Essentials

Lesson 16 of 25

Sal Cincotta: Shooting the Ceremony

 

SkillSet: Wedding Essentials

Lesson 16 of 25

Sal Cincotta: Shooting the Ceremony

 

Lesson Info

Sal Cincotta: Shooting the Ceremony

Let's talk a little bit about must have shots, right? So this becomes a little bit of your shot list, so to speak on this is again from experience what I know ends up in the album, what doesn't end up in the album. So, like taylor alluded to, we walk into the church, we need church details, and in about five minutes I'm gonna actually start photographing some of those church. You want an important church detail? Isn't it? What we call an establishing shot, especially for video, so an establishing shot lets them let's, whoever's viewing the pictures of the video know where you're at in order to do that, it has to be the full building, and so we'll take a full shot of the church with a sixteen thirty five from the outside and try and, you know, do something creative wood where incorporates the sign or the the steeple or anything like that, but get an establishing shot toe. Let everyone know where you're at great point, by the way, and so I don't know if you girls do this, but every time ...

we get to a church or a venue or something like that, the first photograph we will take is, again, that establishing shot, but you've gotta understand why we're doing that for the album. So when you're flipping through a wedding album if you want to produce a well designed wedding album the lack okay here's the bride getting ready here's the groom getting ready whoa she's coming down the aisle how did that story unfold that doesn't make any sense it's all about the story is all about the story so now okay I opened the next page look at this beautiful church maybe it's across to page now shows some details maybe the ribbons maybe the alter those kinds of things that becomes a two page spread in the album guys we're going to talk about album designed tomorrow but if I don't have these photographs I can't design a well thought out album I want to be able to tell the story of the day so that is huge we know we have to get the groom looking we have to get everybody coming down whether they make it to the album or not we still have to photograph that the bride wants to see that we're doing that I don't invest the whole lot of time I don't use any flash okay we've already established that they're coming down the aisle I need the bride coming down the aisle but I need a multitude of focal lengths with her coming down the aisle so I need that tight middle wide and I'm going to show you how quickly I work doing that then we need them kissing gotta get the first got to get the first guy to get a tight first kiss and we like to get a wide first kisses first kisses. Well, so we'll show you how we do that. Okay, so we have a technique for that as well, to ensure the last anyone do is let your second shooter off to the side for the first kiss. That's almost unusable every single time. There's not a shot there. Either the bride's going to be you're either seeing the bride, seeing the groom, you're not seeing both of them and it's rarely a good angle. So we'll show you how to do that. We need all this detail, okay, we need some expression from the parents we need the parents to show. Are they happy? Are they sad? What are they doing? We need the kids coming down rights, and then, of course, we're going to go into family pictures. So what I want to do is take a look at that. We'll talk about family portrait, I want to shoot a handful of details, as if we had just walked into the church just to give you a sense of what we would do really quickly, so let me grab my camera, and we could work off my camera, taylor, because obviously, this is dialed up so I would walk in here and in this particular room we've got this amazing ceiling here would be interesting to shoot a real church tethered um excuse me guess move out of the way. All right, so what I'm saying is this amazing ceiling above me well, what I'm also seeing is a background in my album and so this would be a shot I would take okay? And this is going to be a background in the album so that I can lay images over this again rather than putting everything in on a black background or a white background I'm taking detail from the church and I'm showcasing that stuff okay, then what I'm seeing or some of these details here, okay, so I'm gonna come in here and I love using some rights I'm going horizontal, I can come here use some of this ribbon really, really used the depth of field, right show things going blurry. Maybe I'm gonna shoot down on this and I'm moving really quickly really efficiently to get some of these things that I'm going back up here and a typical church he just pushed my back downtown, typical church we're gonna have this altar right or wherever you are they spent money on something again, anything, they're spending money on let's photograph here, so I'm using a sixteen thirty five lens okay, I'm using the sixteen, thirty five lands on it I s so one thousand and I'm just working this right now I got all these paddles on the floor so maybe I lay down here and this is all going on, right? Put the pedals and focus take the shot, put the altar and focus take the shot and I just keep moving to try and get different things different options here, then I'm gonna come up here, right? And we got an arbor, so spend some time just photographing again with stuff like this. I'm thinking about the background in the album to be quite honest with you, I don't think there's a bride in the world who's going to blow up twenty by thirty portrait of her arbor, right? If she does, I want that bride to be a great client tohave he's the best looking arbor I've ever seen in my life. All right, so I'm gonna keep photographing this stuff, right? Just trying to get as much detail as possible. But if you're wondering what I'm going to do with this detail ultimately it's all about the album that's what I'm looking to accomplish ares is build a better album I don't think you can really shoot too many details, even if you're not sure if it's something they spend time or money on just photograph it we actually had a bride that it was a very high end wedding and they had some very ugly white lattice covering a part of the reception that they didn't want anyone to see we didn't take a picture of it because we thought it was really ugly and it was just from the reception hall, but it turned out she requested it and it was very important to her to have the lattice, so just make sure you take pictures if you're not sure, just take pictures of it, all right? So here. So from this, what I'm doing now is I'm backing all the way up, I might be in the back of the church notice the different focal lengths that I'm moving to im up really tight, but I'm using the sixteen, thirty five I love the way it looks, so what I'd be looking to do, and I'm just going to photograph this really wide, so I'm at sixteen millimeter here, okay? I'm going to get this wide shot off the entire room now, of course, in this room, right? We've got the crew in here and all that other stuff, so maybe I go vertical with it and I really showcase some of the architectural detail in the ceiling, right? So I think stuff like this could end up editing really well, I'm thinking about the album once again and using all that architectural detail in the album but I'm doing all this with my sixteen thirty five if I had a, um a card from the from the wedding they're gonna have a guest book right? They're gonna have their their program sorry thank you write so what I would do is shel give me your book what I would do with this book let's say this is the program I would take the program to me I think this is a creative shot I would put the program right here okay in the center of the ill I would then if there were paddles there I'd lay the pedals around I would then lay down, get the program and get those architectural details in the photograph so now rather than she'd shooting the rather than just photographing okay, the program now I'm doing you're like happy right now you're no forced his famous I love your flower so rather than just photographing the program I'm now adding mohr inch making it more interesting that's what you have to think about how can I make this program or interesting sometimes all the programs aaron a basket, right? So what I want you to give me this give me all your notebooks oh, yeah ipad we got a bad works good so I would take all the programs okay in the end the basket in the bucket and I would lay them and fan them out with each other just to make it more interesting so bear with me you get the idea so now ok I do something like that and now the programmes become a little more interesting I don't know if you guys like catch how I'm holding his camera when he hands it to me this is also something we train our second shooter's on when they hand a camera to us they handed so that we can just grip it right away now that's important yeah so they don't hand it like this isn't it mike I'm grabbing important fingerprints on it now I've gotta I've gotta twist it around so instead she's giving me that camera boom I'm ready to go and I can keep photographing again speed and efficiency there is no substitute um okay that being said I feel like we're good as faras covering details late my lady's details do you like the way we're doing this right? We're not re inventing the wheel but can you see just by doing little things the album all about the album when sal was teaching me how to shoot because he taught me everything I know he put a really great thing in my head whenever I was shooting details because I used to suck it to king detail shots because like what's the big deal it's just you know a ribbon like you should be shooting that detail like it's going to be a twenty by thirty campus on their wall? It is true and that that made complete sense to me because now I put effort into making it creative, making sure things aren't cut off it's the best that it could possibly be, and I feel like my pictures hurt much better. That is probably the best tip for everybody out there is when you're photographing details, you know, because I've made the statement look, if they spend money on it, you're photographing you okay? Yeah, they spent money take a picture, but I don't want you to take a drive by picture, right? I want you to put some thought into it and think about it as they might below this opposite twenty by thirty, which they never will, but if you photograph it like that, you'd be surprised at where your work will start to go. You'll be really happy. Yeah, no that's a great, great point, so hopefully that makes sense, my ladies, we're making sense here, alright? So with that being said, why don't we start getting ready off to photograph them coming down now, let's, talk about where your primary shooter is and where your second dairy shooter should be here's a little thing to consider as the primary shooter I am here center aisle I am not up at the altar as you might think so we've had people come out and train with us and the first thing they're surprised by is that I'm not up at the altar that I'm here in the aisle and the reason I'm here in the aisle is because I don't think being up the altars actually that important here to me is where everything happens this is part of our shooting style in philosophy so all we gotta do is plug your shooting into our framework and so what I want what I want you to do here is understand that I'm looking for this big dramatic shot of the bride coming in so we're going to use a sixteen thirty five lens then I'm looking for a tighter shot of the bride coming down then I'm looking for a fifty millimeter middle shot of her coming down and she goes by me so I'm actually going to switch lenses three times while she's coming down the aisle on my show you exactly how we do that my second shooter is up here at the altar taylor won't you come on up here second shooters up here second shooter's job is one shot one shot on lee it is of the groom looking down the aisle at the bride you missed that shot we're not having a good conversation after the ceremony because that is all I need you doing? Eso taylor when when our team gets to the church we shoot all the details when do you get dialed in I get dialed in before the bridegroom come down the aisle do not wait for the bridegroom to come down the aisle so what I do is I posed for taylor where the groom would be so that she could get dialed in now her cameras not tethered you know why taylor let's do just for the sake of of the program let's just put that lens on this camera so they can get a sense of what you're doing show them compositionally what we're looking for so I will stand here as the groom would and I will look down the aisle we like to put him in the left third and leave that negative space to the right because it makes sense when we're designing the album that he's looking towards the bride will put an image of the bride coming down the aisle on the right it's a great picture that's not a good picture I'm boycotting all right? So here we are I'm looking down no polls coming out of my head I pick a flattering angle obviously we got a tv behind me so that wouldn't that wouldn't work maybe maybe pick out angle this way well, I probably wouldn't come around here because people are going to be standing up here and that's gonna block my shot so typically the second shooter will be at the end of the aisle in the front so we'll be right it's the chair stops that they're not blocking any family members views and they're not in the way right before people are there you'll you'll either stay at that level or down a levels right depending on what's in the back it has got a giant window right behind him I might bend down that way I'm not getting the window in the background you know, frame it up so it is the best that it could possibly be again shoot it like it's going to be a twenty by thirty campus and let's look at this image for a second right chief I would probably want to see me maurin a third eso we've got more room forward because in the album design I want the groom all the way to the corner do it do it so we have it nice your camera okay, so I'm gonna want me all the way into this third here that this image come up okay and then on the right hand side of this image guess what's going to be there pictures off the bride coming down the aisle and so we're already thinking about album designed at this stage of the game and so that's ultimately what we're trying to do we might crop it differently anything like that but I'm already thinking about album design now so that's taylor's shot what? What were your settings that, uh she's shooting it isa one point two right? Your we love shooting wide open and if you're in a dark church right? I don't want to see all this distracts the distracting elements we want to blow everything out we want the subject to be the point of focus uh here you go. So now I'm going to be here in the center aisle, okay? And I in my bag I don't know if we could get a camera over here. This would either be in my bag or on a on a uh on the pew I've got my seventy two hundred sitting in the bag laid a certain way so I've got a red dot so that I can grab this lens and just go right to my camera with it. So come on in here so it's in my bag now because of the types of chairs we have if we were on a pew, the lens would be out here sitting on the pew, right? But the kind of chairs we havejust leaving in my bag and you can see here the red dot is right there so that when I come in and grab this lens and let me show you this, I'm going to take this line's off, put it down, grab this right in and switch so I'm not fumbling with my glass while the bride's coming down because I am changing lenses while the bride is coming down and then it just goes right back there so in the spirit of that let's get chris back up she's been patiently wait first I would set it up with our second shooter posing as the bride so that we can get sitting around in a giant right I'm sorry, so we took a test shot so taylor settings are dialed in now of course we're shooting aperture priority but we can just as easily go into manual mode but we're dialed in before the groom ever gets there same for me so now my second shooter would come here play model for me and I already know the settings here sold me take this when I go here because of the lightness room taylor is going to be underexposed so she's going to be dark in the frame so now what I can do sure I can go hey, I'll take care of this in postproduction something like that but that's not where I want to take it so now because I'm an aperture priority, I'm gonna go plus one on exposure, okay? I'm gonna take that same shot and now she's going to be properly exposed okay that's an aperture priority, so I'm taking one or two test shots and now I've got better exposure there okay aperture priority that's how I shoot all day long very, very efficient way of shooting so now I'm dialed in I know that shooting down this way I've got to be about plus one to compensate for the light coming in so now let's work with you guys okay so lin let's get you up here first right chris you would still be waiting in the bride's writing room patiently waiting all right what's up baby you ready for today all right let's get you up here taylor why don't you shoot this part of it with your camera are with this one sorry tattered yeah just put that there and lynn let's make this israel is possible so lynn what I want to do is sometimes the groom's will come in from the back so they'll come in from here so lin let's bring you over here right? The groom will lead to come out from the groom's ready room or the groom is going to come out from the back of the church sometimes it just depends and walk down the aisle so so you blame you're playing the best man you're the priest today yes okay well today for this case in this act you will walk down with him as his best man so come on behind him welcome back buddy. All right, so here's what I want you teo you two just walk up like you would on any normal wedding day and go and go to your and go to spots aaron you you would probably be in front okay you're gonna walk this way and go up to the front of the altar go for guys and taylor shooting them as they're walking down right no erin you would stay there first, right? And the reason is now every every denomination is different how they handle a lot but typically aaron is gonna be there okay? Because he's going to come down and grabbed one of the bridesmaids and then they're going to come back and walk and then subsequently the groom will eventually be the last one there waiting for the bride to come down. So did you get some of those photographs then walking in let's see let's see some of these come up do we get do we get anything elin or anything aaron then lynn stat staggering it while they were walking just s so as they're looking down shot we would take right you guys are looking at me right? We want some details for the album see some of these come up okay this is definitely a must have shot in for our studio something like that right where aaron's looking down right? We're showing this layering of all the groomsmen so if you've got five, six seven groomsmen that becomes a very, very powerful shot kind of a chest up shot everybody's looking down and you see all of those images that becomes very, very powerful. Okay, so now questions about this just this part of it we good all right. So now chris, I need you up and chris, we're going to start you right here. Do you have any way of flowers for chris or no chris you're gonna be right here. Where's my bridesmaids all right, so I'm gonna back you up because now we got bridesmaids here they're gonna come down one of the time where's my bridesmaids but you're pretty flowers talking your strap. All right, so everybody out there where's mike, where am I? All right, everybody out there here's what I want you, teo, think about how many of you of that challenges where your bride's maids do a frickin sprint down the aisle and you can't get the shot right there off to the races that is your fault that they're off to the races you have got to control your environment. So listen to what I'm going to say to my bridesmaids, ladies, before you come down the aisle, okay, do me a favor we're not using any flash photography here, so when you see me step into the aisle to photograph you just slow down don't stop walking okay smile for me as you're coming down and when I step back into my seat take off for the races as you want as you want to ok same for you, chris all right? That is the coaching in direction that I give them so that once again I'm in control of the event I'm establishing myself as an expert you don't have to be cocky about it you don't have to be arrogant about it you just have to be in control and it's just a little tip ladies don't come sprinting down the aisle does that mean they will stop sprinting down the aisle? No, they still don't listen on dh sometimes I have to go to make them slow down especially if it's in an extremely low late situation but nonetheless I have done my job in communicating to them so I'd rather communicate control the situation uh not all right so what we probably do is get you all in a single line okay? I don't care who comes who comes down first who's he who's the official maid of honor then you're gonna be lost if you're the maid of honor all right? Yes, yes alright talking you're strapped for me now typically there should be a church lady back here doing this but sometimes if I have to step in I'm bustle of mean dress I've had to pin boot in years you know I do whatever I have to do for my couple to keep them going in again that makes me more the trusted advisor all right, so ladies one at a time and somebody'll just taylor just wave to you cause taylor's not photographing when we want you to come down so here we go I'm gonna take my camera now this whole time my second shooter my second shooter is photographing the groom the parents because guess who's going to come down first grandma okay if they've got grand parents grandparents coming here's the thing once my second shooter has to know once anybody passes me I'm done with him I've handed them off I will not turn around to take a shot of something going on behind me my job is to focus forward so is the primary shooter I'm just looking forward my secondary shooter is handling everything behind me and to her so if grandma comes down here and he's sitting down here or mom sitting down here looking down I'm not going to turn around to take that shot because there's a risk I may miss what's going on right in front of me stay focused stay on your assignment my assignment is a primary shooter is what's going on here? My secondary shooters assignment is to handle everything else going on behind me guys with me okay so that being said ladies let's start our little little processional here come on down so I'm gonna again take a wide shot here boom boom boom boom okay I'm just firing off and I'm waiting for to get closer keep going ok hold on whoa everybody's coming down good keep coming so amusing that sixteen thirty five go ahead on through slow now off to the races good come on through okay and so what I did there don't come yet what I did there is I'm taking a plethora of shots we'll see those as they queue up you're seeing a wide shot and then I'm going horizontal and I'm taking a horizontal shot as they get a little bit closer in in that frame and so I'm just photographing them as they come through that frame I'm not switching lenses for my bride's means ninety nine percent of my clients will not add these images to their album okay? Because that's not what they want to waste their pages on but I still have to photograph him and so I'm not just taking one shot and hoping I got it somebody could be blinking it could be a little soft I'm taking a multitude of shots okay also notice you didn't hear me just go and fire off a bunch of shots okay what I'm doing is focused pop focus pop focus pop you with me I'm not in a I serve almost write that makes a lot of mistakes on the camera I've taken more soft pictures using that that mode than anything else so it's focused pop ifyou're doing back focusing on your camera you are going to struggle getting some of these images because by the time you back focus and fire they've already moved through through your focus point so focus fire never knew back in focus I don't like it at all it's a moving subject by the time you hit that by the time it focuses and you fire that nanosecond there they're going to be solved guarantee right now it's a still subject? Sure but they're moving down this aisle focus fire focus fire focus fire with me okay so now as my bride is coming down I want to do a couple of things here I want to go vertical here's the one shot I must have of my bride what'll happen is the doors will open in the church ok dad might be standing next to her sometimes grandma's walking her down mom's walking her down multitude of scenarios that could happen when with so as she's a cz those doors open I am vertical I need that shot I'm gonna take that twice I'm immediately gonna come down switch my land she's probably going to start walking towards me come on down you're happy okay I'm gonna switch again as she's coming down coming through okay, I'm gonna take all the shots you're good for now ok, I'm going I'm going too switch again I'm gonna go back to my sixteen thirty five and I'm going to get this hand off that's gonna happen here can we show a sprinkling of the images that were wide tight uh and all the different lenses as she came through so here's we're going to do now I hope that makes sense and show me the big wide shot two in there there were three different lenses I used for her coming down the aisle and then I went back to the fourth those are the ones right that we're going to use to tell the story of her coming down the aisle okay, so look at all the different looks we have right and of course he's a raw there right at the camera we're dealing with no doors close we got like coming in so she's being backlit those images and well aditi's tomorrow those of the images I need to tell the story of her coming down the aisle but look at all the different looks we got is that makes sense where do your thoughts I want that sixteen to thirteen I want that sixteen thirty five lines yeah good good everybody good should I take some questions? What do you do? You want to take a few? Yeah I'd like to take a few all right there's a question from kl photo design do you stand in the aisle just like that or do you peek out into the aisle more when the bride is walking down I stand in the aisle just like that as I'm taking these questions I want to reset everybody we're going to do this in real time so you guys get back there I want everybody to see how we accomplish this real time and you girls probably to not be right behind each other don't the next girl shouldn't come until this girl hits here for your first time yeah first time gonna stand in broad so yes I stepped right into the aisle and I step right back into my seat I stepped right into the aisle step right back into my seat yes so a lot of folks are asking what if there's only one of you and you have no second shooter in this scenario then you do have to be on a pivot I mean you've got to turn around forward turn around forward I think you're going to miss him stuff I think you need to work second shooter's into your package but where would you be standing in that same spot I would stand in my same spot for sure but you better be aware of what's going on behind you so your head needs to be pivoting nonstop looking front back to make sure you're not missing anything okay, so there are about thirty questions about focusing so we talked about focusing before but can we just go over it again? Um so do use automatic or manual focus what is focus fire mean do use focus or release button to focus? What f are you using? Okay all good questions wow, what was the first one? No manual focus holy cow no way those days are over. I'm not using manual focus unless I want to take a lot of blurry artistic pictures I'm using the focusing system that is built into the camera thank you canon thank you nikon so I'm using that focusing system focus fire means if if we could get a close up on my hands a doll basically the cameras are set up with the possibility off using the back button focus meaning you can hit this button back here and that will get the camera to focus using auto focus then I used my finger to fire the problem is by the time you get the camera focus by pushing back here and then fire by pushing the front button the your subject has moved through your frame that's a problem instead what I do is my cat every camera has its own way of setting this up you're gonna have to look at your manual I'm using the default which is right out of the box which is the same button that focuses is the same button that fires the cameras when I'm saying focus fire it's focused fire focused fire not you know and I don't know if you can hear that so hopefully that makes sense when we talk about modes on your camera there's a dr mode and the drive modes are single shot burst shot and then I serve a which means it's tracking the subject as they're moving so the focus is constantly trying to keep up with your subject I have produced really bad results by doing that so I don't use that mode are you single shot mode to get those those shots okay daniel for a june cup cake photo cup cupcake photo my personal photographer studios and matthew asked what about multiple cameras? Wouldn't it be better to work with two cameras in spite of being constantly changing the lens? So why not two bodies? Yeah, that would be ideal until I get sponsored by cannon I am not gonna be able to do that my I used a cannon one d x and the price point on that is seven thousand dollars so for me to have just for the ceremony which is where I'm switching lens is the most tohave fourteen thousand dollars worth of body just sitting there when it has to be a good body because you have to have the duel cards like I got a way we have our own show right, I have to be able to produce that slide show. So yes, two cameras would be ideal cannon. I can give you my address just dropped like five cameras on my doorstep. Love you guys. Yes. Alright. So for those, if you are changing lenses to carry around a bag no it's sitting out the way we were showing you. Yeah, and typically it's right on that pew. I don't want a back is that I'm fumbling with my with my bag. Can we go? Yeah. So because normally I'm fumbling with my bag. I don't want to fumble with my equipment. You're seeing bump out of their taylor, how quickly and we're going to do this in real time now I'm taking this lens off and I know that my lenses here in such a way that I could just grab it like a doctor grabs a scalpel and go right into the body with it because of the red dot that's. What that red dots for on the lens that's where it connects to the camera body so I know that I can come down with this reach over come right in, okay and twist and I'm ready to go and that's why I do with that way if I had to go in my bag I guarantee you if we had like a quick draw contest you'd be dead because you'd be still fumbling with your back all right might not allowed to say that the wild west wild west of photography right now all right it looks like yeah uh one more quick question for you if when you're going in the aisles aren't there are all these people sitting there yes that's why I've got my bag here so whenever we first get to the church we set up our bag here so that we're taking up that whole pew typically so that no one sits there yeah if there's no entry into the pew except from the aisle we take up the whole pew if not we don't want to hijack the entire church they can come in through the outside but we're taking at least three seats wide so that my equipment is there so that I have a space to step and step back out step in step out right? You've got to be able to do that don't feel like you're inconveniencing anyone that's what you're there for if you don't do that then you run the risk of having no place to step and now is your bride is coming through you're on somebody's lap and you're trying to get out of the way you don't want to do that so have your space we have never had a problem with anyone complaining all right so what I wanna do is I want to do this real time so you get on up there okay? Now a typical church scenario the next group wouldn't come until the first group it's here okay s so what we're going to do where's my groom let's have the groom and the best man walk up come on up guys my tailor shooting that and now I'm just waiting so now right the groom and the best manner there well you're the priest now now you've stepped in aaron to play the priest hears all our groomsmen coming down with it with the dates and this can work either way the groomsmen can come down with the bridesmaids or the groomsmen can come from behind me and meet the bride's maid either way it doesn't matter right? We're just going to adapt to what's going on we know what we've got to get so in the spirit of that let's go with this all right so as soon as you hear that first frame come on down guys again I'm using my sixteen thirty five getting my shots good job next group's going to start coming I'm not switching lenses for this I just need those shots that have my butt covered so they can see all the great people they've walked down next person is going to come down I'm wide I step in I got horizontal good job okay so now what'll happen is all my bridesmaids are up here all the groomsmen are up here and now the priest will say please rise hey different music will typically stop playing or start playing the doors will open again it doesn't don't discount everything I'm teaching you because you shoot indian weddings, you shoot asian weddings, it doesn't matter the concept of what I'm teaching you is the same take your shooting style and plug it into our framework and I promise you it's going to work now you're not seeing images come off taylor's camera but she's photographing everything going on behind me I've never looked back once that my second shooter has to cover anything going on back there a candle being lit anything like that candid moments where the groom maybe makes eye contact with his mom and dad right where he gives him a little smile that's the job of my second shooter so that person who asked the question you know what? If you're just a single shooter, you're going to miss that there's no way you're going to get that shot unless you're just damn lucky and so that's why you need that shooter back there building into your packages building enterprising and get him there so now my bride comes down remember you're going to walk slowly, right? I'm gonna do this in somewhat real time, so here we go I got my big wide shot one or two lens down okay, I'm switching in boom now horizontal I want some tighter shots good boom is coming off I want my thirty five millimeter he'd coming she's happy don't trip okay boom I'm coming down I now got my sixteen thirty five on I'm stepping into the aisle right behind her I'm taking that shot I'm going to duck down and now these are the shots that I'm producing that was all done near real time is a pretty sharp short run for her to come in at me and you're seeing a plethora of shots with three or four different lenses I didn't fumble once with my glass and I went through four different focal focal lengths on that I thought from the group you're about lisa's like yes master thank you you went sixteen thirty five, seventy two, two hundred what was your third thirty five millimetre or fifty millimeter and at one point two or one point for I want that boca I don't want to see the guest behind her in focus that's not what I'm looking for so I've got this big dramatic shot right? Maybe this room doesn't lend to that but if we were in a typical church back behind her is just gonna be gorgeous right stained glass window maybe things I got to get this big sixteen thirty five shot once or twice she starts coming down I come I come and put my seventy two hundred on you can see that picture on the screen that's my seventy two hundred then she gets really close to me I could throw a thirty five millimeter on one for one to yep some of them are going to be blurry I'm okay with that I'm just looking to grab one frame that's not and when you when you look at it in context we've got everything that we need now she comes by okay I go back to my sixteen thirty five for the handoff that's the picture on the screen that you're seeing the bottom right hand corner and I'm ducking down so that I'm not in the way of my second shooter so I start walking down the aisle with my sixteen thirty five I get down on one knee and I let my second shooter fire in on captain the handoff is well so the handoffs now covered from my perspective and my second shooter's perspective and we've got maximum coverage did you think that was smooth? Okay so that being said I'm going to rush through this park is I want to get you to some ceremony pictures and this is this is being good it's just going longer than I thought it would so you guys are holding hands and the good news for you is I'm not expecting you to give an actual ceremony here dearly beloved we're gathered here today so this might be your typical set up right so what am I looking to shoot here so there's one shot I have to have it's a wide shot again I'm thinking about the album I'm gonna take this shot make sure I like it then I'm going to come in and I'm probably going to switch lands is my second shooter's rolling around the perimeter we've already talked about hand signals and I'm going to come around here not only do I need that wide shot but I also need a tighter shot and I'm gonna take a couple of different shots hands okay let's do this I'm over exposing a little let's do hands I'm having a bump upto so thirty two hundred and that's pretty typical in the church I'm then going to get them looking and smiling at each other I'm going to go vertical and I'm just gonna roll through these just to give you an idea of what is a must have shot good and then I'm going to go off to the side and these tamir those must have shot right and aaron's looking at hurry smiling I'm looking for the reaction I'm sorry lynne is it better not be looking at the bride dirty priest all right and then I'm gonna come over here to the side watch the cord baby and then I know I need pictures of chris looking at lin I'm thinking of the album, and so you're seeing the diversity we're looking to get. The biggest mistake I've seen photographers make is they overshoot the ceremony there's only so many ceremony pictures that are going to end up in the album. Okay? And now, yeah, that's where we're going so now I made you sit down. I'm not gonna overshoot the charge, which was like, dude, they're looking at each other how nobody knows what the priest is saying in your photograph. If you've got the pictures of them looking at each other, you're done. You only need so many of those pictures. Get the family members. So come up on the perimeter, shoot into the family members. Now we're going to go to the first kiss here's where it matters. I'm going to be with my seventy, two hundred taylor or your second shooter. She's going to be vertical with a sixteen. Thirty five. So taylor's job used this camera so we can show them. So taylor is looking to get this is the must have shot. Now for everybody following along, these air gonna happen in parallel. Okay, so you guys give each other a kiss and hold it, okay, let's, bring one of those up switch again so that his tailors must have shot right that is going to be combined remember these were being shot at the same time so my second shooter would be here and it's not uncommon for me to be here over her shoulder you guys kissed each other again and get this shot so now we're shooting in parallel and I don't know if we could bring those pictures up side by side. Those are the shots were getting and can we bring all of them up big wide one there we go, you start showing your bridegroom shots like that, you are giving them diversity. What point does it make to have your second shooter offered some random angle getting something that they're not going to use? So make sure you're checking the program and when things were happening so that you can keep track of when the first kiss is gonna be and you can be in the same spot at the same time we can ask about the ring exchange? Yeah, how do you handle the ring exchange? Same way what would be different in your opinion? Do you do close ups of their hands or anything like that? Do you move closer so that you're just showing, you know you're going to get in the way you're going to be in everybody's shot you're going to be obnoxious and just get right where we are, which is where my bag is we don't move past I never pass my back so I'm always right here and not with a seventy two hundred that gives me enough of what I need yeah don't get me wrong I'd love to have this tight, wonderful hand shot but not at the risk of disrupting the guests because we get a lot of compliments from our guests on hey guys, we love the fact we don't even know you were there we didn't even know you were there and they absolutely love it when I first to say that you this's incredible for me you especially saying that a lot of photographers overshoot during the ceremony that's totally me and I overshoot and I will actually miss moments because I'm just you're all over the place you're not anticipating that's the that's the word you've got we know what moments are going to end up in the album and it's not all those random things it's key moments so we try to make sure the team is in the right space with communication moments right here so I'm going to see susan I'm gonna put you out I'm gonna test you right now where my saying you're saying see eyes the bride yeah me you're covering the bride you got tonto you can come in you can come out in second chute for me and nice our love teo especially after this workshop right quick question about the um go, the question was, do you tell the parties to not look at the floor when they're walking down? Do you give any instruction to them? Yes, when I went into that back with a back room and coach them not to sprint down the aisle, I tell them, hey, when I step in, make sure you got your best smile on because a lot of more focused their walking in heels, they've never been a lot of girls, maybe they don't wear heels that I'm not a walk in heels on. They are very cautious about the way they're walking, so you'll have bridesmaids just looking down on the ground. So I try to, but of course you're going to have that bridesmaid who's just looking off in la la land, and we get a bad picture of her, but I'm okay because, again, that part of the day is very much photo journalistic. I did see a question I'm not sure who asked it, do you? Do you want them to look at you? Or do you want them to look straight down the aisle? No, I want to be invisible to him, so I don't care where they are I don't tell them to look at me if they make eye contact with me that's fine, and I have brides. That are so camera aware that when they're on the altar and we're off on the side, they'll look at us and they'll be, like, smiling. Mike that's money man, I'll take that shot, but, you know, it just depends on your bridegroom, okay? So we'll take one more question before we go to break let's, do a photo, get asked what? What are the must have shots and the must have lens when people in the aisle is not this long? A lot of people are saying churches are smaller, so if you have less time, you have time to switch lenses out or you know, you just have time for, like, two shots probably stick with the sixteen thirty five and zoom in all the way out and then zoom in. Yeah, or twenty four, seventy will be a better land. Sixteen thirty five you're gonna get some distortion. Some people hate the distortion you get some people love the distortion you get s oh, I would say the better lands if you're in a really short church is to go with that twenty four, seventy. But man, I'm telling you you've got if I still have been in very small churches and switch lines is because when those doors open for the bride, she's not immediately coming down so when those doors open you can get that big dramatic shot and you just need one you just need one right? Don't overthink it don't overshoot it get that one must have shot off of the architecture switch lines is go to your twenty four seventy go to eur fifty millimeter I think that's the way to do it and south tell us a little bit about the photo sweets yeah photo suite seven is a huge improvement in the on one editing suite I'm a big user of on one my editing team are big users of on one we love their tools it's all in one you control focus control all sorts of creative edits and seven just came out so it's brand new and the best part of all is you don't need to work within the photo shop environments you don't need to know anything about photoshopped this works totally on a standalone product so I think people will love it very cool odama with tomorrow what's that well damn away tomorrow perfect. Okay, the winner is elizabeth kennedy and she participated on facebook and the quote was, if you are going to be a wedding photographer you've got to get rid of the junkie glass yes that's a true statement it is a true statement so congratulations to elizabeth and thank you again two on one and just to remind everyone will give away more prizes later today and if you go to the created by block block it explains everything they're prettified dot com slash blawg so keep tweeting and facebooking away your favorite quote sentence so so we just we're talking a break we had a couple of outstanding questions that we wanted to address right away for folks online and the first one was about a back up camera so you explain that you don't have you don't shoot with two cameras, but do you have a backup in case something goes wrong? Yeah, the lounge was like freaking out he's running a million dollar studio can for two cameras yes, yes, we can't afford multiple cameras we probably have eight different bodies in our studio, but what I cannot afford to do eyes tie up to one d axes just to get the ceremony so instead we have backup cameras. My backup is a one d s, but you've got to remember why I'm using one camera. I'm building a slideshow that night, so I don't wanna have to download cards from multiple cameras when I'm building this large and we'll show you how we build it slide show later today, but it's very important that those images air coming off one card to allow me to be very, very again efficient, so we definitely have multiple bodies cool and the other question that have come up I know we talked about walkie talkies, but would you guys consider using headsets? No, no headsets, milwaukee talkies it defeats the entire purpose. We want to be invisible ninjas, as the lounges referred to us. We want to be very invisible, if you will, and if I'm talking on the walkie talkie or a headset, I'm not invisible any longer. Guests can hear us speak and so hand signals are a conscious decision we made. Of course we could go out and buy headsets or walkie talkies or any of those items, but I'm telling you what if you want to be unobtrusive to your guests, the best way to do it is implement these hand signals can't be easier, couldn't you just a follow up on that? Because folks had asked, what about if you are working with your video team or what? If you have three shooters, right, how do you communicate them the same way? Because the whole team understands what's going on, so we're all in sync is truly like a football team on the field, everybody's watching the quarterback toe look for instructions look for signals everybody's been trained. They're following our system that's the key here I know we keep talking about this being a system being a pollutant blueprint I'm not necessarily trying to show you how to shoot there's plenty of seminars how to shoot I'm trying to show you how to make money using your shooting style plugging in our system and so this is something where we've got multiple teams working together and everybody's on the same page so it works and it's easy I could grab any of these girls here throw him into our system and in less than ten minutes they're going to understand the entire process you coming, liza you that he's like I'm coming coming out of st louis I hope that makes sense that's great, right? Yeah, yeah we're cool. We're ready. All right point everything out. You might notice that I'm wearing sneakers now for women out there, I wear dressy black flats for the ceremony and the reception the other parts of the day when they're getting ready when we go and do all the creative shots actually just put on flip flops because I'm running around like crazy and let's be honest, my feet are gonna be killing me by the end of the day so just switching out for those parts of the day really helps. So I just want you know I forgot my black flats at home, which is why I'm wearing my overturned the running sneakers so let me see if I if I got this right yesterday you're walking around barefoot with polka dots socks today we've got bright gold yellow sneakers on and keep you guessing keep the guest keeping us guessing tomorrow there's no town she's walking around with crocs and just a reminder folks is this what you would wear both of you to a ceremony not me I would be in black dress pants on probably a great top a muted color top of course if it's cold I might have my black jacket on right so these are kind of standard issue for a team we all have embroidered jackets so that everybody there knows that we are the photographers on there's no misunderstanding who's with who if you just dress in black there's a good chance you're going to get confused with other people with the video team I don't want that if the video teams not mine I definitely don't want to mean confused with my staff so my entire team gets branded jackets so that we're all in sync on that so yeah black dress pants nice shoes and a dress shirt no tie for me none that stuff you've seen I'm laying on the floor and running around I've got to be comfortable same for me so I've got black slacks on black or grey and then I'll have a dressing button down our address the sweater not taking my jacket off because it's freezing in here uh but that's what I would wear yeah and so, just to be clear, the apparently the keywords today, our ninja and true story. So we're going to tell you a true story about a ninja, I guess, and drink up in that lounge, right? So I'm on to you guys.

Class Description

Learn the essentials of wedding photography in this comprehensive collection of the top segments from the CreativeLive catalog. Get an inside look at the techniques used by some of the industry's leading professionals – everything from shooting to editing to sales and marketing.

Whether you are trying to break into wedding photography or inject new energy into a flagging wedding photography business, this collection is for you. This series of videos was assembled to guide and inspire wedding photographers and help you develop the business and technical skills you need to flourish.

You’ll learn how to get the best possible images in camera, on the wedding day. This collection will cover everything from posing to lighting to composition – tailored specifically for wedding photographers.

SkillSet: Wedding Essentials also covers what happens after a wedding. You’ll get an overview of the workflow, retouching, album design, and post processing techniques you need to get your clients images they will love.

But beautiful images and smart post processing won't get clients in the door by themselves. You’ll also learn about the business of being a wedding photographer. This collection is a compendium of marketing, pricing, and business knowledge from some of the top working photographers in the industry. Plus there is some inspiration in the mix to get you excited about implementing everything you've learned.

Breathe new energy into your wedding photography with in this impressive collection of some the most educational segments in the CreativeLive catalog.

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