Shoot: Marketing Campaign
So I'm actually going toe warm up the video, we're going to get into what the chute looked like and you're going to see in fifteen minutes how I scouted my location when I arrived the shoot you will see how I shoot with natural light, you will see how it worked my clients into a pose, and then we'll talk about strategically how imposing my clients for marketing purposes three into that right now, they were here at a park in orange county. We are about an hour and twenty minutes from sunset, which is when I like to start my shoot because I could leverage the beautiful light. Now I'm not goingto have my subjects stand directly in full light at this particular moment, because it is bright it's so bright that they're actually going to squint. So what I'm going to do before I do anything I want to create a photo map now photo map is an idea in my mind of where I want to go, and I'm guessing for the shoot, I'm going to try to hit two locations with certainty, and maybe I'll be shooting in be...
tween each of those sections a little bit, so we'll say that overall it will be two and a half locations on this shoot, another thing that I want to keep in mind. First and foremost is I'm going to be looking for continuous light and because this light is so harsh and so bright but I want to do is I want to shoot them preferably in open shade because I am at a park it may or may not work in my favor but we're gonna walk through and I'm gonna tell you the things that I'm looking for in the things that I want to have boyd so let's head overto open light and actually what is happening right now is the sun started getting it was really bright and now the light has kind of duel because the cloud has gone over that so these are the things I need to take into consideration I also need to take into consideration that there is a hill and landscape behind me which means sunset proper is slated for about seven forty five time of the year but because I'm not getting sunset along the ocean horizon line since it will probably hit me around seven fifteen seven twenty so these are the things that are keeping in the back of my mind and I am okay to the shooting without the sun after it's set behind the mountains but let's get let's get going let's get this party started we're gonna head out to open shape so we're just about to start the shoot I want to take a minute to introduce our gorgeous writing room for today we have megan we have scott they are married in real life so this is actually going to be really compelling footage because they will actually have that natural chemistry that a lovely couple shares now before I actually start shootin couple I want to take a couple minutes to talk about specificity and when it comes to your branding words as a photographer we put together a marketing campaign you want to be sure that you're focusing on three words that are going to really define your work now I have chosen my words to be fun fashion editorial so I need to make sure that I shoot like this continuously now at the same time just being that it's a bride and groom I'm going to be shooting romantic photos at the same time now before actually get into the area of open shade I just was walking and I saw this beautiful light cascading through the shade. Now I'm going to start there now because it's a lighting situation the words that I'm going to be shooting for in this particular station situation would be editorial and I also would probably get a little bit of romance in their just naturally but again that's like an ancillary word for right now I just really want to focus on this gorgeous light and the light that's coming in through around the tree oh man, we're gonna walk in whatever actually maybe walking will be here where scott is so that we don't have to get snagged. Now one thing I'm taking into consideration our there's clouds going over the sun, so the son was not as bright. Um as as it was in a second, but there is light in front of my subjects that's going to be bouncing back on them. That's what I call reflective light. So this area is a little bit dark and I am gonna have to really kind of leverage this beautiful light. But this area here it's nice and brown and tan in color, it will hopefully be pub putting some light back on my beautiful bride, and I'm going to do a portrait of the bride. And what kind of you know, the light did change considerably, so I don't know if I'm going to be ableto leverage it in a way that I want. I'm gonna shoot this at a one point two on a test flight. I need to shoot very specific specific area so that the sun is not directly in my cameras to make you just relax right now. Like more and more time beautiful right now I'm at one point two hundredth of a second so gorgeous can you take a deep breath in her last that left shoulder hell yeah girl beautiful beautiful so now I have the sun directly behind my beautiful bride and she's rimless am I losing a portions of her dress along those highlights perhaps but she looks so something that I'm willing to take take it for granted and just let it go now I've shot a full body the bright I'm gonna take a few steps and now I have a lot of area around to know one thing I want to take into consideration when I'm shooting this way is I need to shoot this photo in a few ways to ensure that I can share it on instagram in a in a certain way so instagram I needed to be a square so I need space around it so the photo I just shot would be perfect for instagram now what I want to do is let me think about a masthead for let's say a facebook masset I need to shoot it vertically but I need to have a lot of space around it because it's a thin vertical line up at the top of a master and I'm gonna shoot this horizontally beautiful deep breaths just relax so shoulders good can you put the bouquet in your left hand down to the site gorgeous beautiful look down it's ok good I'll bring that right children towards me a tiny bit more at a girl beautiful good night can you look over your left shoulder beautiful as if somebody had just darling beautiful I'm gonna change the light changed again I'm gonna go to six forty but the second one more time again look back beautiful now I shot the vertical for instagram with face on the side I should've horizontal for facebook now I'm going to get in nice and close to shoot a full body so that the bride takes up the mage authority of the frame uh darlin beautiful good now what I would have you do if I'm going to have you pick up the dress with this hand and then I'm just going to give you a little bit emotional and let you kind of just swish your hips yes beautiful beautiful give me a little kink in the elbow right now your arm is fully straight got a girl you good beautiful relaxed ok in your right hand down yes yes beautiful look over your left shoulder and swift atta girl beautiful beautiful great I love it I'm going to get so scott I'm gonna bring you in right here and bring your torso was nice and close now I'm gonna grab this okay so um turn in towards beautiful you're out of your hands around her waist and make it I'll have you hold it ok here beautiful now I specifically chose megan to be on this side because I want to show up off her wedding rings were relaxes a tiny bit now I'm going to want megan to give me a little bit of weight there we go and one hit versus the other because what it does, it brought her body down, but it also accentuated her curves. Now what I'm going to be shooting for at this particular moment now if you notice megan had the bouquet up like this but I want to do is I want to rest it along his shoulder. Yes, I know there's a lot of flying bugs you, but don't worry it'll be worth it for the photo, so I'm gonna make sure that I'm clearing out here because megan is back late I'm going to see a lot of her hair highlighted and I'm just going to let that go because that's part of the photo I might clean it up later in photo shop. Now what I'm going to, I'm gonna bring your forehead in nice and close, beautiful, beautiful and I'm gonna shoot this at one point too, because they felt this in height and at this distance it really works now one thing I wanted to point out is the sun is coming directly into my cameras when I wanted to take a step to the left and then make sure that they're still backlit, but that the son is not in competition with my camera to go by at two eight hundredth of a second cousin's son for not attending but beautiful. Good night, megan, can you get your hand underneath scott's chin and bring him in for a very light kiss? Maybe nose to nose? You hang out their hangout, they're beautiful, peel away from each other, peel away people wait, no comeback in nice and close. Beautiful. So what I'm using right now is the fifty millimeter, one point two. I have been shooting this at one point to you and I usually really, uh, do during these types of shoots just to start it off. The word that I'm shooting for specifically at this point time would be romantic. And one thing I really want teo kind of focus on would be slightly editorial, because I definitely think that this could be in a wedding magazine. And now I just want to make sure that in this beautiful now as I get closer. The shadows becomes so much more pronounced, and the light becomes so heavy on one side versus the other, so I'm not going to fight this light anymore. What I'm gonna do is I'm going to take them to some open shade. I'm gonna buy some time with the sun, but so far we've had a beautiful bridal portrait that I shot in a myriad of ways, both full body with lots of cities around her and then full body from head to toe that we can crop and later and I shot a romantic photo of the couple, and I think that this is working really well just to start, so what I'm gonna do is they're just walking out towards me. And if this photo works that's fantastic, and if it doesn't no big deal, but why not try? Because this will allow me to get a nice natural photo in an editorial way hang out there for one second, megan hangout, so because they pulled away farther from the sun light, I have to make sure that I'm compensated for it. So I'm assuming this at a five, five hundred of a second one point two, two fifty I s o okay, I'm ready for you, nice and slow, nice and slow, beautiful, good, make it look back, it's got nice she's vertical and horizontal and the farther I scoot back into the doctor like need to compensate when it dropped down beautiful three twenty five seconds. So what just ended right now was an opportunity to shoot the couple towards me. Now what we moved from was a romantic setting, and what just simply by them walking and enjoying it, we kind of went into a fresh or natural appeal, so do using the same lighting the same beautiful scenario. What we shot was for two separate words, but again, shooting with intention is going to be important now as we make our way to some open shade. I have scott take megan's dress will be walking and I'll be talking. So one thing that I want to take a second to talk about would be pre visualization pre visualization is this idea that you think of a shot that you want before you actually take it? And in these particular situations, this is the best way to start focusing on how to use your images for marketing let's talk a little bit more as we walk, so we've just probably walked about ten or fifteen feet from where we were now, in that short amount of time that short distance the light has changed considerably, so we're at a park. So there's gonna be a lot of cool tones like greens and blues, and you could already have already seen the difference, and I don't have a natural reflector to compensate for it. Now. The thing about marketing is that you want to use an opportunity like this, have a photo shoot to shoot the things that will ultimately ultimately get yume, or of what you want to shoot. So pre visualization is really important. You want to know you want to get from camera before you actually shoot it. So if you were a commercial photographer, you would get a brief or request from the art director. And so, in this particular situation for your marketing campaign, you are the art director as well as a photographer as well as the execute er as well as the director. Photography. You are the whole thing. So in this particular situation we have. Beautiful easy light so what I want to do is I want to get a photo that I feel could be something I have in my mind that it can bring to life now there is a tiny, tiny tiny bit of light that streaming into the trees so I want to always look for soft light that's going to create a dynamic photo now because I am short and my clients are taller what I'm going to do is I found an area that has a sloping incline which will give me about a good four or five inches heights and so I'm gonna turn my couple towards each other here beautiful now I'm going to actually get scott on this side because there is a slight incline which would give scott a little bit more height turning out this way beautiful so what I want to do with this photo is I want to create something like really intimate and and nice and close to them and something that I might be able to see in a magazine somewhere someone to shoot this because they're going to be looking at each other and they're very close teo same eye level I'm gonna shoot this at a tuo we should visit to fifty going to get a test shot to see where my lighting is and I met five hundred the second gonna go two three twenty five seconds my focal point currently yes great I'm gonna go four hundredth of a second to save a little bit more of her dress and they think we're going to be good good to go when you bring your foreheads in nice and close together beautiful beautiful now can you bring your eyes a tte the path right in front of you megan right there I'm not beautiful now scott bring your lips wherever they land on her cheek beautiful relax there from children because they still have this amazing upward angle when I'm going to do is I'm gonna shoot this really wide open and I'm going to keep the couple in this same position and she did just ever so slightly differently I'm shooting with the thirty five millimetre I was shooting at a distance a slight distance with a thirty five now I'm going to be really nice and close with thirty five but I'm still on the upward angle giving this nice beautiful effect and I can lean into my clients without invading too much of their personal space I'ma shoot this at a one point four because I change my appetite I need to compensate by way of shutter speed I'm gonna do what tough shot at eight hundred of a second and that looks really darn good because it is a beautiful fuzzy gorgeous like open shade light so actually making your face that line right there was so so beautiful you scott, you come in and you yes there we go beautiful slight smile man beautiful good eyes here, megan chin towards me good and scott, you coming toward mecca? Beautiful slight smile good, good. Now what I need to make sure good I've noticed that megan has a beautiful shape face but her hair came up quite a bit so I need to make sure that if I'm going to crop anywhere it has to be across the forehead or include all of the hair because if I just crapped out a tiny bit of the hair it will allow it won't allow the out of focus and where it needs to go in that last frame I got her face over here and then a different frame which isn't going to get in I'm going to be cropping across her face beautiful, beautiful, good, good and one more time beautiful now I'm slightly changing the focal point and the composition of the frame so that I have options later that hang out going back up to go to two o for hundreds of a second I'm gonna shoot this wide just in case I want to use this facebook at a later point in time beautiful relax front shoulder megan nice yes that good, beautiful now scott, can you peel your body open facing this way my hair is caught in the branches turn out that way I'm sorry turn out this way more away away nice and then you're gonna take my hand okay, andi now what I want you to do is I just want you to walk nice and slow and scott you are going to be looking um at megan as you do it so in three two one nice and slow walk good I'm changing the focal point beautiful megan look back beautiful had a girl beautiful beautiful that was great. Okay, so one thing I want teo kind of talk about because I was in a stationary position and my subjects were walking what I needed to do was focus and then recomposed the frame so my camera has a sixty four point focus system so I picked the focal point closest to my subjects as they walked I would focus recompose focus recomposed focus freaking boat so I was focusing in between each rain to hopefully ensure that they each frame would be really in focus and now we're just gonna walk a little bit more we're going to see if we can chase this light and then what we ultimately want to do it end of the shoot on this beautiful oak tree and along the field so right now I would say that this is our first kind of location while walking to another half location and the end of the big kind of like parades the end of the shoot in a little bit so we just walked about fifteen, twenty feet from where we were we old notice that we're still on the same trail within the park and what I wanted to do was I wanted to get into this open air area now when I talked about creating a photo map, I was able to get to the location and I have shot here before and I kind of am very familiar with what I wanted to do given the time of day now in this particular situation this is a beautiful thing field now if I did not have any sort of light compensation it would kind of be difficult to capture any bit of the light behind them without blowing out the entirety this guy but what I did notice at this particular time is that with this beautiful open field but what sits behind me is what I would refer to as a natural selector where an open shade here but just beyond there the sun is hitting like this kind of brown tan area that's going to be bouncing back some beautiful light to compensate their skin tones as I shoot them with the sun behind them. So these are the things that I'm thinking about now again that was us talking about shooting with intention is looking for a good light and the photo map what I'm going to do now is I'm going to be shooting for a word to create movement and included as part of this course, you're gonna be getting a a a shot list syrian have ideas of various things that you could do with a couple. I'm going to move into simply having the bride and groom walk to this beautiful area and I'm going to shoot them in two different ways. We'll be shooting them from a wide shot this way, and then I'm going to shooting them as they walked towards me. I'll be flipping to the fifty millimeter now we'll be using thirty five all switched the fifty so that's the plan? Sweet. Ok, so what I'm doing now is the sun is just right over the crest of the trees so it's still hitting it so that I can get this beautiful golden light. Find them. I'm shooting to set a two point five, eight hundred second two hundred so I'm leveraging this beautiful natural lecter behind the couple looks gorgeous. I gave them in action and I will be talking to them from behind my camera. So, scott, can I have your right hand in your right pant pocket? Nice. But instead of giving me a little bit increase open of the coat with your hand, there it is, boom, there it is now. I'm going to be talking to guys from behind my car but no now it's as if he wise the story becomes who has just left of the church you guys were going to be walking and enjoying this very light moment so in three and your walk slow at a cadence of one, two, three and I'll be talking to you guys but in all in case I'll says you guys just have a nice light face so my focal point is going to be on megan I wouldn't be standing directly from him so I don't have to tilt my camera and change the focal plane so in three, two and one beautiful nice beautiful nice nice girl youthful pause there meghan scott you keep a hold her dresses and come up from behind her come of minder get your feet underneath her dress and and let the dress fall at the dress ball boom just wrap your arms around her beautiful, beautiful heck yes heck yes when change my conversation to six forty I got in a slight incline it's gonna give me a little bit hight gorgeous I'm stepping a little bit more so I just shot from movement into just nice natural fresh posing gorgeous open it that right shoulder towards me a little bit at a girl nice great now I'm going to switch my lens I'm gonna keep him there because this area is so off kilter. I don't want my bride walking too much in it because it just makes it difficult. So now we're gonna do is instead of standing over here and having my couple walked toward me and getting a dark background, I still wanna leverage the sun that's behind the because rym lighting the back of the head so I'm said, I'm going to stand here and they're just simply going toe walk toward me and scott's going to pick up the back of her dress, making your input the bouquet in your left hand and you are going to hold actually, I'm gonna shoot first. Editorial minimum issue it's a movement so, scott, can I have you here? So you wouldn't notice that I am switching between my words, but I'm very conscious of it. Have your shoulders squared out in that direction. Nice and can I have you? But in the top button making turn in towards got beautiful. Come in this way. Have your right hand here. So this is what's happening right now. J d is giving scott some, like just kind of fashion tips, which are fantastic because as a girl, sometimes I don't notice those things s o scott, can I have your left hand in your pant pocket? There it is nice on the megan your right hand around his waist now megan had her hand on his shoulder peel it back a little bit there it is so she had his hand on her shoulder but I only saw finger so anytime gonna have floating fingers it's going to take with its in the digger get the photo and then she had floating fingers along his side and so I want to make sure that we peeled back basically her touching scott brings her body in nice and close to scott and now going to be shooting just slightly something a little bit now give me a little kink in the leg megan so that nice beautiful so megan asked which is which is a better king toward me or away from it and in this particular situation if she went towards me it would create a gap between her and scott so by her going back her body falls into him naturally but now would have notices that megan is very conscious of her body frame so I want to talk and give a slight little queues tow actually give her more of a natural pose and a natural look in an editorial post so just take a deep breath relax that left shoulder give you a little kink in the elbow nice, nice beautiful good beautiful so meghan is looking at scott scott's looking here at me nice beautiful relaxes miles I'm going to step in its tiny bit I'm gonna conference is going to go down to four hundred of a second the reason I'm going to four hundred seconds because scott this black suit is now taking up more of my frame and I need to compensate for that light beautiful but I need to make sure that entirely the frame's looking good nice beautiful megan eyes hear beautiful and then scott looking off in that area now megan turn your shoulders so you're facing out that way beautiful now scott can you hold her hand beautiful and then give me a little kink in the lake that will bring you closer to scott there it is beautiful it's got right hand in your pocket so what do we do now is I was shooting those photos at a two point eight four hundred of second two hundred s so now I just kind of want to just do something for myself I feel like I got a safe shot I'm okay with that I'm going to shoot this now it a one point two because I can and I'm gonna compensate by way of shutter speed I'm a test the light at eight hundred of a second it's a little too bright to go twelve fifty thousand think this is what I'm going to want to be beautiful beautiful so scott bring your right shoulder towards me a tiny bit boat and making you looking down the way that you were and it's got looking at megan. Beautiful. Beautiful. So now that we have this, we went from editorial not gonna get natural. There would be walking toward me. So this is getting some movement turning told both towards me. Beautiful. And scott. You could pick up this side, actually, let's. Just let her dress go. Okay, now I'm not the change. My focal point would go to two point five, enough to compensate for hundreds of the second shooting with the fifty millimeter testing light that's exactly where I wanted. Beautiful. Now, can you just stand there? Beautiful looking here at me and give you kink in the hips. Make it at a girl's. Beautiful. Now, what I want to do is to start with your left foot and walk with the cadence of one to three. And you're not going to kill me and be looking at each other just enjoying what's going on in three, two and one beautiful focal point is on megan. Beautiful getting up on my tippy toes because it came down into the slight ravine idea. Megan, I know I'm gonna be hard for you, I know oh, good, good, good, perfect. So now what I'm going to do is I got a portrait of the bride that I think is really good but before I lose the too much of this light I'm gonna get a shot justin just of the groom but I'm going to do it because guys they're generally telling me any time I can get ah height advantage or at least any sort of inclined I will have scott take a few steps back because if you've noticed I'm kind of just like in a downward slope someone step up here I'm gonna get at least a good foot take one step back nice scott can you just pull your hair back nice cool there that's it may take you ah take a few steps back nice and then can you open your soul to turn your shoulders this way and then get your left hand in your pant pocket cool so I'm at two point five hundred of the second two hundred eso said scott right now I kind of want you just to relax the needs a tiny bit bread so what? I want you to look down at your button and then undo your button with both hands sorry I think you you about meghan good look down in the booth nice nice nice nice red put your hair back cool go, go, go, go, go nice look down button hanging out nice looking at that, megan this time they're having no problems with button here we go can you do but you now nice great great great great great great! So what happened now? I wasn't narrating what was happen because I thought that scott was just doing such a great job. I got a full body which will be more traditional that will give me options later but I really liked the shot from like the knee up and what I wanted to do looking at megan looking at yep there we go great! So his body formation completely changed when he knew I was talking to the camera instead of locking out his niece he just had his legs opening he stood with both hands in his pocket, which showed me that that's how scott stands so when I saw that age issued an immediate lee but one of the things that he was doing that I liked really ah lot with him but being his coat and they think that'll make a great detail photo at a later point in time if I decide to use it but so far we have a good portrait full body half body him putting on his coat and then him looking at his beautiful bride so we're goingto leave this section we're gonna walk out toward the section with more bright light and see how we can leverage that so what we shot here were editorial photos, natural photos by way of movement we gave people walking side of me towards me we did a little bit editorial, we did a little romance and then we did a little groom photos so now we're gonna walk on back so I said that we were going to move from this location but then I light because I saw our bride looking just too beautiful in the light was just too good to take away. What I want to do now is I want to shoot a few detailed photos now I will be including in the list a lot of detail photos to take but in this particular this particular dress I think works really well because on the bodice of his beautiful jeweled bedazzled bodies were going incorporate the homemade bouquet as a way not to shoot it just by itself, which might kind of give the reveal that it wasn't exactly professionally made but if we can couple it with the dress and this right here will be great and I'm also going to shoot a photo of her hair I'm gonna shoot a photo of her hair for the hair artist and the makeup and her eyes are down now would be a great, great great time to shoot this so that's gonna be the goal we'll shoot five separate frames most of the time this will be vertical just stylistically you can get more of your focus on that now what I noticed is it instead of moving the bride, I noticed that there was like, stuff here that is going to be distracting, so I'm just going to use my foot and try to move it away the best I can and the understand that some of this will have to be taken care of in post and then I'm gonna go in front of her and anything like, uh, tires tyre mark that I don't have to take of later will be super helpful, okay? Um shooting with the fifty six forty of the second two hundred s. Oh, yeah, that's pretty so I back to the tiny because I realized I couldn't fit all of the dress at that current form, so now I have to dress the bride is just a tiny bit of her face is in the frame up top, but the focus will be on who the bouquet and address I'm going to step in and not worry so much about getting the entirety the dress because I'm going to be getting her bouquet now I'm gonna make it needed as if a string was coming out of your head send it straight at a girl, bring the tip of the bouquet towards your abdomen just the tip yet there it is, beautiful and at this distance you can't really tell that like my bouquet is too lightly not so professional and that's going to be the goal turn your hips towards me write about their beautiful gonna get three or four different angles of the bouquet that I have options to use at a later point in time shift the bookcases that its upward yep there it is and so I just had the bride it was a slight tilt that I think would kill me later on if I did not get it right now she just picked it up this way so that the bodice and the dress line up perfectly now money include a bit of the tool in the dress the bedazzling on the body and then juxtapose that with the bouquet and that is just so beautiful okay vertical um faraway vertical opposed to shoot horizontal up close that I can use it later point in time if it comes to marketing I shot rule of thirds for this frame you should know sent her and then we're going to do hair shot to turn this way beautiful and so because megan is taller get back on this incline beautiful can you take a couple steps towards me right there that is beautiful beautiful can you get your left hand and bring it up to the side of your yes that we can have the cages rested down the side beautiful look at your hand beautiful, beautiful beautiful bring that hand down now this time we had it was my fault I left the hand here I want it here and then I kind of want you to touch move aside so that it doesn't look like it's just laying there and I know this bug is just it's eating you eyes is eating here beautiful, beautiful hand down all way down bring it up again beautiful you my focal point is on her eye one more time let's try that gorgeous and stunning and all kinds of beautiful. Now here we have the cupping of the hand relax it turning even turn yes that you two fall good! Bring it on down shooting that vertical nomine issued this horizontal back up a tiny bit to give me a little bit more space to ensure that the folk points on her I give it to me one more time, darling. Beautiful, nice looking back towards the trail all the way all the way from there bring it back to me bring the best me hand down beautiful more time bringing it on up now one thing I did notice well, with that her hair this side of her hair came out distinctly to be a distraction, but I'm not going to worry about that I'm gonna fix that later on in pope just so overall, I feel pretty darn great about the session but I know that the light we're losing light someone head on back so what I'm going to do now is judy is walking with a couple and have just a couple seconds I want to show you just a couple environmental details that I will lay there be able to use perhaps when I pair the photos I may or may not use him and it doesn't really matter what I want to do is you shoot environ mental details and in this particular case or at ah park so what I'm gonna do is I'm going to shoot a couple things going shoot the trail moving this way although the light is bisecting the trees which I think could potentially be distraction I'm gonna shoot this at a three point two at a thousand of the second you see where this is headed and this is okay we're gonna go down to thousands of a second three point two, two hundred nice if I use it that's great and if I don't that's not a problem I can have I can use these photos perhaps have been a future block post if I need, you know like a photo tarty lee an idea like the road less traveled or something I can use that I'm gonna drop this to a two point oh two hundred of the second I'm gonna just shoot the shallow depth of field I'm gonna shoot these green things I'm gonna go down to a thousandth of a second I'm gonna switch the focal point from me in the foreground shift the focal point to being in the center leaf I'm gonna shoot some of this dry grass and then we'll be done it is sometimes it's hard to find the focal point with really small a lot of bunched pieces of wheat or this isn't weak, but california we supposed core great all right, so what I just noticed now as we've walked away and the sun is about to fall below the hill but it's kind of still going through this beautiful tree, but I want to do someone a leverage is light as quickly as possible. Now I don't want to be the same height as my client because I am a little bit shorter than they are, so I noticed he's kind of like steel poles I'm going to stand on a steel pole and shoot down at them as they walked towards the treat is a slight path and trail that they're going to walk down. I won't have to give him much instruction they're just going to walk in this past towards that tree and if I have to yell at them from a distance, I will so right now my settings or two point eight good I'm a two point six forty two a second it's slightly tiny tiny tiny bit on the darker side they wanted prefer but if I can save any sort of you have any sort of sunset light I will beautiful and walk in nice and slow beautiful eyes at each other cleaning for like kiss thank you good on making can you turn me over your gorgeous walking walking beautiful now this time turn over your other shoulder your right shoulder hang out there one more time good I'm gonna shoot now with eighty five because they're at a distance and I don't want them to change instead of shooting at the fifty I'm gonna shoot this a like tiny bit tighter I'm gonna shoot this in a two point oh because they're not good looking camera maybe less and we really want to highlight the book in the background beautiful can I see your right hand megan yes beautiful beautiful now leaning towards each other so I see your profiles profiles leaning for like kiss beautiful making can you bring that bouquet just behind your body a little bit there we go now mean and for that beautiful like kiss beautiful beautiful good now what I want you to do is to look back at this tree beautiful night bring your faces in good now scott kiss megan webber your lips land fans hospital okay okay we're walking and you stand here and turned towards me megan I'll have you're okay here beautiful and scott shoulders out that way and then right hand in your pocket beautiful beautiful relaxing smiles give it's beautiful you know maybe you can get your left arm em thank you. Thank you for reading my mind and then instead of having your hands cut up relax it beautiful oh bring your hips to touch his elbow there it is beautiful yeah, okay, cool now what I'm gonna do is I'm gonna get the thirty five now what I want to talk about quickly I'm working really fast because I'm working against the light the sun what did go down a lot faster than anticipated so we shot for natural we've shot for editorial we've shot for movement for romance when one does I want to show a little bit for fun and fun is always a difficult one but especially because they have this really beautiful high and guitar look I probably shooting as much fun but I want to make sure that I can execute this in a certain capacity so I'm basically going to do I wasn't gonna use the tree around them as a frame the sun is still kind of sort of peeking through the edges to shoot there's only should visit a two point five maybe it was wide photo around them I'm gonna be shooting this five hundredth of a second the focal point will be on the bride beautiful now I'm gonna shoot this wide so that they're perfectly center beautiful okay, cool now what I want you to do is uh scott can have both hands in your pockets but swooping out the coat nice cool I like how you just kind of making take one baby step this way beautiful now we know what you do is I want you to pick up the side of your address with your right hand you can hike it up at a girl beautiful now what I wanted to do is I want you to show me some of your best dance moves right I good okay yes just making so kind of swisher have name beautiful good now turn your booty towards got from your booty shorts that booty look at a girl look all way back in him yes good kind of just take it on out shake it out shake shake, shake, shake, shake good now minutes scrutinizing closing to compensate for the light and I'm gonna have you do the same thing is gonna feel silly but don't you worry there it is beautiful good no booty back towards god and kind of just back it up back it up back it up back it up get it e o good beautiful now I want you to do is to take a couple steps back put the bouquet in your right hand scott, take one step toward me. Beautiful. Now, what I want you to do is make it on the count of three. I want you to throw on, come up from behind, scott, through your arm around his shoulder in three, two and that's what you'll be looking at megan when she does this, okay, but you can look, bring your eyes here at me, it's three, two and one and making I'm ready for you. Nice, nice, good. We'll do that one more time. That was fantastical. That was great. And then instead of having the day arm dingle across across his shoulders like this and three, two in one nice, nice. Okay, so what I'm basically looking for now is I feel like I've shot the kind of shots that I want. I have a wide portfolio of various lighting situations, but now I just want one photo, and it kind of see it in my mind, and I don't know if it's actually possible, but what I would love to do is to shoot the couple as they look like they're walking uphill, so I'd shoot it very wide and panel. So they're very small within the frame and that's, traditionally not my style of photography, but I just can't help but feel that if this couple were able to get that type of photograph, it would be something that they would have for years to come, and then it would be amazing, kind of just like signature piece of signature photo that they can have as well as myself that I think could actually pivot the point of this entire shoot. Maybe I'm putting too much pressure on it, but I'm still going to fight for it. We have just a tiny bit of light, and I'm going to say they're willing to walk, I'm willing to show everyone is okay with us, okay, okay, so what I'm going to do now is I'm going to have the couple walk in this direction so that I can get a ridge behind them, and then when they walk up just a few about, like, ten feet, I have them make a right so I can get a different type of ricin, maybe get him on the apex of a rather lower hill in this park, it's going to be a little bit of work for them, but I definitely think it'll be worth it because the sun has set with these beautiful causing the sky, and I'm going to fight for, and I better be able to deliver on this because they are going to be expecting it, so what I'm gonna have you do scott you'll be sending here megan your bouquet will be in your right hand and you'll be holding scott's hand with your left hand thirty five so this is what I'm doing right now I'm a two point eight eight hundred of a second two hundred eso no I'm saving most of the sky and their skin tones are a little bit darker but they really believe that I can pull this up in post I'm shooting raw and this is going to be the thing that I'm going to sacrifice I don't mind blowing up the sky but right now with it being as pretty as it is that's why I'm going to go and see if we can bring up their skin tones in a in a little bit so you guys are going to be on the house or three simply walking scott pull the hair back there it is often is that yes there's that yeah megan perfect there it is beautiful and we're walking good bring about uh so this is what's happening in this house is in the background that I just feel like our digger getting the photo so I'm just gonna have a couple walk this way so that the thing that I'm shooting directly behind them would be the guy in the hills you guys scott you can pick up her dress I'm gonna walk this way we can keep on going keep on going keep on going right about there now already will drop the dress. Scott, take one foot in front of meghan. There it is. And he was walking beautiful. Megan, look back towards the parking lot. Scott, take one big seven from the megan. Go back to the parking lot, megan, because I'm walking one big step ahead of her. Scott nice. Great. Perfect. So that's, what is happening? This is absolutely crazy. I know, but I can get them to the apex of this hill, then get a photo, then we're done and be a perfect place to end. I continue. Okay, if you want to. Okay. Okay. So now that we're completely out of breath and walk over to the hill, so think we'll release teo. I'm gonna have a stationary shot where I'm goingto have her lean back and dip into a kiss, and then I'm going to have them to simply walk along the crest or the apex of this hill they're going to to things, and then that's how we're ending it because we'll be at a distance shooting this with thirty five millimetre. I want to make sure that I give those instructions to them now before I walk down so I don't have to yell too much, so now you know, what's happening, so as you kind of get back for the guest, have your arm around her waist. You were have this year. Now bring your guns, bring your foreheads and your nose is close together. Good. Now lean back in the homework that kiss, make him work for making more boom boom. Now what happens? You squatted down this way like bring the torso in name back, but not too much don't feel like you have to get back like a professional dancer just want to get a nice little curve in the back. You could work for that kiss then secondly, what we're gonna do is we're going to get scott, we're gonna get we'll get scott leading you on either this way at the hillary this way once they get on their way to determine it, but he'll be see how we're walking on that side does one step ahead. Thanks, guys, because we got tons of parking lot from your faces and nice and close. Great. Okay, probably from right up here, right down here I'm shooting with a thirty five millimeter I'm shooting at two point eight, four hundred the sec. Two hundred s o the sun is definitely distinctly behind the couple and I'm just kind of going up the the light around them but I'm still getting a tiny bit of the clouds and that's a fight for so on the count of three you know bring your noses together pause then lean back so in three two and one beautiful beautiful beautiful beautiful beautiful come back come back up for just one try that one more time wait here we go in three two one one nelly back great cool so scott would have you do is walk this way now the reason why I'm doing this is because if scott was walking down the hill it would make him shorter than his bride so I want to make sure that as he walks up he will be taller consistently because the incline of the hill ah nice you guys walk in looking back at your wife beautiful there now could you show me your dance moves you just hold on she's gonna spin around you could grab this out here nice beautiful one more time and roaring for like historian puller and polar intolerant love it thank you great. So there's this beautiful, beautiful beautiful sky behind them I'm gonna use that lingering bit of sun for a traditional portrait pause right here scott you'll be on that side you'll come in this way I'm gonna shoot this with the eighty five that's. Nice. What? You just your type? Nice. Great. So my settings right now are at a two point two hundred to fifty. Beautiful. Both your eyes here. Just relaxing. Bring the space in nice and close. Can you get that hair on this side? And scott? Yeah, just tight. Tuck it behind your ear. Beautiful, beautiful, gorgeous turning towards each other. That's great guys. Thank you, thank you, thank you, thank you. That was perfect. So perfect for the exact time is seven. Thirty five sense. It is traditionally slated at this time of year. They checked before I came at seven. Forty five. We actually went about ten minutes longer than anticipated, but it was because they decided so amazingly to climb up the hill to get the photo that they wanted. Overall, I feel like I got the shoot the way that I wanted it. With the exception of maybe the shoot at the end, I really delivered this idea, this vision of them climbing up the hill, and it was worth it. Yes, but do I think that I myself, as it created as an artist, delivered a photo that I was really excited for main you're maybe not. We'll see what kind of work with it in post, but I think that part of the reason why it didn't work with because I didn't pre visualized I didn't have the idea in my mind specifically of what I wanted, I had this like loose, nebulous idea of what I thought would work, but then when I actually tried executing it didn't exactly get there, so I'm gonna walk away from the shoot, wishing that the next time I have this opportunity, I will know exactly what I want to do. And yes, I believe I will have this opportunity. So what we went through is a short recap is to find the best light and to shoot as many of variations within that light before moving on. So you're gonna get portrait's going, get movement, you're going get action, you get romance. And then, well, you want to make sure that you created photo map so you know where you're going from beginning, middle and end and more than anything you want to shoot with intention? You wanna have the idea of what? You are shooting in your mind and execute those words because you don't want to leave the shoot with the portfolio that looks. Hey, great. I'm glad I shot these photos. But when you look at them, they're not continuous. And adhere to your marketing and branding words. After the shoot. I'm going to show you how we edit these in post and what we do with the images. And hopefully we will create an effective marketing campaign, all for less than two hundred fifty dollars.