Wedding Photography Bootcamp

Lesson 24 of 43

Shoot: Bridal Prep

 

Wedding Photography Bootcamp

Lesson 24 of 43

Shoot: Bridal Prep

 

Lesson Info

Shoot: Bridal Prep

we're now in our hotel room and we're getting ready for the bridal problem and here's what I'm figuring out and guys like us up in the chat rooms get into the chat room if you're not in there now and you're just watching ultimately I'm going to be pausing for questions I think it's very important as I think taylor would agree that this part of the day we run it pretty strategically we're thinking about certain things as we shoot so what I'm realizing is out there you're not really so excited about watching the images come off my camera so to speak we know what images are required from a wedding but I think what I'm hearing from you guys out there allowed clear is how are we getting to those images why are we taking those images and more importantly how are we directing the day so I want to take you through that I want to set up each part of the day and get you into our heads and what we're thinking about because every shooter on our team has the scene system if you will so I've trained...

taylor taylor's trained our shooters and so our style is very very consistent so here we are bridal prep tell me why in your words are the bridal prep image is so important uh one for the album so whenever we're shooting we have to keep the album in mind whenever they met with us we sell them on telling the story of their day and the story has to begin with I'm getting ready for their day and so we're capturing the emotion between the mom and daughter between bridesmaids and then photographing even the smallest of things like shoes it's something that they spent time and money on it's something that's important to them and so you want to make sure that you capture that in of course they're not going to put on the wall but they want in their book right so if you go if you go to our website you will not see pictures of shoes and bracelets in fact I actually make fun of you for that right I don't want in your portfolio online pictures of shoes and bracelets that's not like couples are booking you however I don't want anyone to believe for a minute we don't take tremendous care in taking pictures off the shoes of the jewelry anything your couple has spent money on is something you need to photograph every single detail now when it comes down to timing how long do we typically have with the bride as she gets right at least an hour right so we want it least an hour so that we get all those details the shoes the bracelets jewelry dress all those things now when we arrive at the room the bride is not in her dress way don't want an address we want her about ninety two ninety five percent of the way done with makeup or completely done with makeup uh and you're this has been a point of contention for a lot of photographers do not let the makeup artist screw up your day makeup artist I love you to death but you haven't you are notorious for screwing up our days here's the philosophy for most makeup artist the bride should be the last one ready and that there is that that's a good philosophy right we want their makeup to be fresh and them to be beautiful but if she's the last one ready right there thinking about what time is your ceremony oh you're ceremonies at two o'clock we'll have you ready by one thirty I'm not in the room photographing till one thirty we're not in the room photographing till one thirty were gone by then so make it a point to tell the makeup artist exactly when you need the bride ready and make connections right we tell we work with makeup artist and how do we instruct them uh well first of all creating that vendor network is really important so if you're the trusted adviser for your bride she's gonna listen to whatever vendors you have to recommend so our brides typically used all of our vendors that's why we're able to work with these same makeup artist for five years and so it's very consistent but we tell the brides to tell your makeup artist you have to be done at this time right right no it's very important so that the bride knows she may be ready before the rest of her bridesmaids that's important point number one um now that's kind of you know and I want you queuing up your questions guys this is I have a feeling we're gonna get a lot of questions in how we're running bridal prep but we are once again very very efficient could we spend three hours here shooting the bride getting ready and take all these amazing artistic images of the bride getting ready sure if I have time I'll do that but mostly we don't have time and let's pause for a second because I promise this before the break second shooter's guys having the right second shooter on your team is extremely important if you're just running ads out there like hey need a second shooter and you got a friend who's a shooter with a camera that would be the worst thing you could absolutely do and so we're looking for somebody who would fit inside our system right because we want to reduce consistency and so what we're talking about here everybody out there follow along our process this is a blueprint you're going to take your shooting style and just plug it into this process and I'm telling you you're gonna get the images you need for the album and of course making your client happy uh words of wisdom around second shooter's what what do you like what are you looking for because I know even though we're in the same system so to speak you're looking for something a little bit different from your second shooters then when I have a second shooter on one of my jobs so talk a little bit about your laughing at me but a little bit about what you're looking for out of your second shooter well it's it's funny because I am so introverted I don't really talk to my second shooters I don't really talk at all so I feel like a lot of the time they're probably wondering what they should be doing sal is a great instructor and training people and so he's definitely much better at that than I am but as with the audience but the audience right in all fairness there's people whose whose personalities may be a little bit more type a director like me and then there's people who are a little more introverted each one works right guys I mean there's no right or wrong way it's just understanding what I love about you is you understand your personality type right you're not being introverted and she's going oh I'm going to be south hear me roar that's not your your philosophy and also that's how my philosophy is a type a I'm not going to suddenly try and be quiet in a room right and I don't think that would work for me so either way there's a way to make it work so let's talk about your way what what is it you're looking for in a second shooter so over my second shooters before we walk into any location we kind of have a briefing before we walk in the room so let's say we're walking into this room we would stop outside the door before we walk in and I would tell them okay I'm gonna have the bride by the window and I'm going to focus on her face and her body while mom's zipping up the dress I need you all position you off to the side I need you to focus on mom's hands uh zipping up the dress get mom's expression and then the bridesmaids in the background I said I've got bride all right you get everything else and you're you're instructing the second shooter to look for the candidates right right your that you are still the creative director on we'll get to how we're directing the couple but basically you're looking for your second shooter to capture all those candids with that being said let me ask you this because I've only worked one wedding with you and I think you were ready to kill me and I was ready to kill you where I was your second shooter that was not you know that was absolutely horrible I will agree sal trying to be quiet it's just that it was bad I'm not gonna lie it was struggling but that being said I noticed that when you're working with the second shooter you set them up in the beginning of the day and then you just let them go wander right so if you're second shooter is wandering what is your mindset as their wandering my mind set is I have to I know what I have to get whatever they get his gold I basically operate on the mindset that I am the only shooter and their their jobs candidates candids candids because if anyone complains about not having enough pictures it's of like the mom like well when my mom wasn't in that many pictures well your mom wasn't around uh most of the day so of course there's not that many pictures I don't want brides to say that but that's perfect you guys out there have had to have that problem girls in here you've had to have that problem where key people are missing during parts of the day how do you ensure the key people are here when the bride's getting ready well it goes back to the timeline review so when I'm telling the bride okay make sure whoever is going to help you get ready for them to already we dress because they're going to be in all the pictures and they don't want to be in sweat pants that's her cue to know ok mom I want mom to help me get ready so she needs to be dressed by this time in here show connection show families together sister siblings brothers whoever is there in that room have them engaged not typically the brother is not in the room on the bride's getting ready but any siblings we want to showcase that connective ity that love that passion between people that's our job as artists is to document that stuff so sometimes you'll find a mom whose camera shy and she's hanging out in the back of the room and maybe I've never met mom so I will ask my bride when I'm in that room is mom here oh yeah moms moms right there alright mom come on get in here and I was like oh my god I don't want to be in pictures right and I know come on my mom making fun we'll have a good time with it so I'm again creating that environment now my mindset when I'm looking for a second shooter first and foremost if you're my second shooter I need you to start yourself second I don't even know what to say right now it's not okay all right so let's be serious if you're my second shooter I'm really looking for you first and foremost to stay out of my way so uh you have to pay attention to a line of sight so my shooters right if my camera's pointing this way they should not be on the other end of my camera and what that might sound like common sense but a lot of times it's really not s o my second shooter's air really trained were all trained to pay attention to each others line of sight and if you hear me call your name okay if we're in the middle of shooting and taylor let's just for argument's sake say you're here and you're taking a picture of this and I'm photographing my bride was here if taylor hears me say her name and I say taylor I don't have to tell you she's not going what do what do you think I'm asking you right we're in the middle of photographing so if I call your name and you're my second shooter my entire team knows that if we call each other's names were in each other's line of sight so we know immediately to just back up okay and pay attention to what's going on right it's very natural for the drifting to occur I'm also looking for my second shooter to get all the candid as the creative director when I'm bringing the bride in okay and I'm bringing her here and imposing her and I'm getting her toe look out the window as I'm talking everybody's being very candid right because they don't see the camera but once the camera comes up people naturally get very posie posie and that's not what I'm looking for I want those candid last reid looking away and you know being silly but this minute my camera comes up that goes away so my second shooter is trained so that all of you out there have to educate your second shooter's notice nothing taylor and I have told you about training a second shooter has anything to do with technical right acumen I don't need to teach him f stops I write any of that stuff although they should know it um not pointing anybody else although they shouldn't know it they should know what to do I'm assuming they know how to operate their camera what they need to do is learn how to operate within the flow of our day so if they see me goofing around with the bridegroom and my cameras down my second shooters know that their camera should immediately be up ready to capture those candid moments not laughing it's hard to do because it was a funny guy so whatever he's telling jokes trying to take a picture like that tony it's the same job but it's still fun yes I love it okay so it's good to have your jokes going and get everybody happened happy having a good time with your second shooter can't get got up in the show next second shooter's if they don't work for you you need to provide your second shooters with memory cards do not let second shooters come into your event and bring their own memory cards you run the risk of them now taking those images that you set up you created and using those images on their website happened us exactly learned from our experience this could be disastrous for you I got a phone call from our bride and my bride said to me um why are my pictures on this random persons website and I got burned we got burned one time and we vowed never let that happen again so the way you do that is you can have a second shooter agreement form very easy to come by I'm basically all that stipulating is hey I'm paying you for services in return I only images and that's a fair trade if you want to let people use the images that's on you we don't we have protect our brand in our company so make sure they're using your memory cards take it a step further make them use your equipment and I know if you're just starting out this is a very pricey solution consider renting right we rent equipment from like lens pro to go I love them they drop off a pelican case on my doorstep and everything's good to go right I don't have equipment for every single wedding right lensing glass it's too expensive and so but what I don't want to have happen is I'm shooting a high dollar wedding and I've got a photographer show up and they're using right a canon rebel that's great but that's not gonna work for the kind of imagery that we're producing whether it's from a noise perspective right full frame sensor perspective or they're showing up with glass that's fine for right I need fast allies I want to control the environment as best I can so hopefully that help some of you guys understand how we go about grabbing second shooters actually we should take it a step further and tell them how we train our second shooter so I think towers it was kind of serious where you say you feel bad for him because eliza I think you saw her assisting me yesterday on my back she is one of our second shooters now and when she started off this is what we trained all our second shooters by the way and I highly encourage you to train your second shooters that way a cz well she started off on my back okay I paid her eighty to one hundred bucks per event okay as on the bag nothing else and she had to work five or six weddings with me on the back so she's by my side all day she's not taking any pictures she's not doing anything she's just learning the equipment learning what I'm grabbing at what part of the day how imposing people how I'm directing people and understanding the flow there's nothing worse than injecting a second shooter I don't care how good a photographer you are if I was or I am I wouldn't be able to go to your wedding and performed for you I think I would probably fail you because I don't know your system and so we want to inject people in our system so she's on the back after she's on the bag I gave her a camera so she became a third shooter so we didn't matter what came off her camera I just gave her a camera she came to two or three weddings with us and I said just go shoot shoot anything and then show me what you got and then she would come back after each part of the day so out of the bridal prep I would say to her what's your best picture out of the bridal session and I would give her honest critique she would showed me your camera if I was like no it's a great shot great if I'm like it's socks I would be like no that's no good here's what so I'm giving that critique that honest feedback and then finally uh she became a second shooter and I do this I put my team on the spot and so will this there can attest to this we were in the middle of a wedding and she had never even directed a couple but she had been on probably eight to ten weddings with us and I said hey guys susie and built elissa for the next fifteen minutes is going to tell you what to do and elisa's face turned white I did this to you as well when you were coming up and her face turned white and she was like uh like don't go easy on her make her work for it and I think that is the best on the job training right but my clients were comfortable because they knew I had control of the day on they under everybody understands that somebody has to learn people have to learn to somewhere and so that is the kind of midlevel story of how we will train our second shooter so if you do have questions about that I will take him when we come to to take some q and a so get into the chat rooms start asking some of these questions now that being said here we are in the hotel room okay we've instructed our bride we've had that timeline review we're walking into the room and why don't you and I walk through real candidly because we didn't see you so everybody knows we didn't see this room until about an hour ago we've never been here didn't pre scout the location that's pretty typical we don't get to scout locations let's just kind of turn around what are you seeing in the room when you walk in what tell me two things you see when you walk in the room mirror you're a beautiful mirror gorgeous window light what's it like coming in to things I don't have time so s so to things I see I see this awesome right brush metal table and I see this awesome black leather chair here so now as soon as I walk in the room when I walk into a room right my I'm looking for a light I need light in the room we can't make a photograph without light and I don't want to use this nasty light and yes this hotel is beautiful big open windows bringing some light in but you can see here and I don't know how you how you gonna be able to see this on camera right now what's happening is the sun is reflecting off the building behind me it's bringing in this really hard like well I don't want that so guess what I'm gonna pull these shears closed so I can soften this a little bit all right and so that's going to help me out a lot and I may have to open him up depending on what's going on a project to the camera crew into trying to adjust for that but I'm gonna just as I need okay to get the light in the room the way I want you control your destiny here you're going to control the way the light it looks in the room no flashing here there's absolutely no reason for it so now we're in the room what is the first thing we're going to photograph normally we're gonna arrive here and we've got the makeup in here but now details details so while the brides finishing up makeup getting ready to get into a dress I'll ask her where your shoes your jewelry your details everything you're gonna wear and I'll have her gather it for me like we've done here and then we're going to take pictures of this by itself will photograph each item individually and then all of the details together in one shot and we do that just so they have options in their album whenever they're picking pictures to design it I like this so with that being said that's our vision we know we have to get these details we know we have to get shots of the dress here's what I don't like to do I've seen for tyrants do this is they take one master shot off all the details in one frame we will do that however I liketo isolate details and the reason I like to isolate him is because remember they've spent money on this so what I like to do is put these images into their album this is going to help us ad pages to the album I'm already thinking about the wedding album and as do you I think you've got it think about that so um you know I didn't no I didn't talk about this I think you and I have talked like a little shoot off okay so you could talk about your photographer but here's how we're gonna do this all right and used to make it fun because we do have two cameras but I would like to show people just one or two frames the difference between even though we work at the same company we you've been trained by me on we want to produce a consistent event when it comes to shooting detail shooting the ride there's certain things we do identical and then there's things where you add your flair to it and certain things I had my flair to it so we'll do that for details and that'll be it well it will at the internet vote I think they're gonna vote for you no matter what anyway so I'm gonna lose this battle so yeah you guys are shaking your head yes you're like I haven't seen a single picture from taylor but she's better okay so with that being said why don't we get the christian here are broad and makeup don't you ready for this now so come on in yeah put your ring down there for me I need that detail perfect right can we and can someone gets the groom's ring for me it's not in here but we need that detail all right so what all I want you doing you're gonna finish your lips right so if you could and yes guys I would direct makeup and tell them where to stand but more than likely makeup he's going going to stand in light they want the natural light two eyes that is that interesting you might you might so she's saying is true she's looking for window light natural like that she that she wants to use so what I want here I'm going to pull you closer I want to silhouette you in this window right there and I'm gonna let them finish okay uh putting on lips and all I'm gonna do is I'm gonna come over here and I'm immediately seeing a possible silhouette shot okay and this just works great as a filler for the album and notice immediately taylor's picking an angle that's different than mine so now she's adding diversity to my portfolio we don't want every shot toe look the same also notice that I'm photographing with a fifty millimeter lens thank you very much I'm photographing with a fifty millimeter lens taylor's using a twenty four seventy so something else our second shooter needs to be well versed in is we don't want the same focal length not then your images all start looking the scene so taylor will know any of my second shooter's if I'm if I'm running a seventy two hundred and I'm long they're wide if I'm wide there long and that's the important part their eyes for both of us would you agree that absolutely all right what else could we do here we can take these shoes right and just do something cool with them now get her in the uh in the background getting ready so we're using these details let me do something here and I'm not overly thinking about these shots guys I just want to work really quickly getting something that's a little unique and giving my bride something that just looks different okay and I'm gonna come back to these details in a second and really obsess about him but I just want to move really really quickly I'm not obsessing getting caught in the back of my camera right I'm just moving as quick as I possibly can and the sun just went away right so my eyes so I shutter speed on that last frame was about a thirtieth of a second where is that it was at one hundred two hundred so lighting conditions are changing in the building now because it's not reflecting so now I can come back in here always pay attention to the light and open this up control the environment as best you can all right so now let's do this so I got enough of her getting ready here's something I don't want you wasting your time on do not waste your time photographing a million shots of her getting makeup done because you know how many you're gonna men end up in the album this money right there not many alright yes you look good guys dancing pictures and my bride's getting into bank up why would they want pictures where they don't look beautiful I want pictures in the album where they look absolutely beautiful so I still want some of this stuff but I don't want her raw face in the album not because she's not beautiful but because compared to more polished images she's more than likely going to reject those and I know this from years of experience with our broads and putting albums together so we're definitely paying attention to our bride so you don't know your lips rock on all right so uh chris here's what you're gonna do chill out for a second because we're going to photograph your details have a drink with your bridesmaids your girls have fun just be silly relax now that I've just instructed her to do that obviously we don't have her bridesmaids and everybody in the room but now that I've instructed her to do that my second shooter is typically paying attention and looking for those candid moments right now now I'm coming back to being the creative director and I'm going to photograph some of the details so what I am seeing first is I'm seeing this mirror here in the background and I'm going to center this silver table okay I've got a vision in my head so taylor I'm gonna take some detailed pictures game on okay and this is the shot I'm going to take and then of course taylor is gonna come back around and get a better shot of course you're all right so what am I going for with this I don't think my fifty millimeter is gonna give me the kind of vertical can we get rid of that blue pillow uh maybe it will so here's one frame I'm gonna take okay I like the way that's looking now I can go a little wider and I definitely want to take more than one I want to make sure that that ring is in focus right so now met back in two point oh I'm trying to make sure I got my my dot on that uh on that ring but what I really want to do is I'm probably gonna move over to my twenty four millimeter really quick you know what lens you're gonna want sweetie uh mr we got there twenty four seven yeah all right so we'll put that on his camera one more frame okay and I'm not again I'm not gonna obsess I just want to make sure I've got everything s so that I can tell the story here and this I do like now so here's a twenty four millimeter one point four one more done so that's my shot don't know if you guys like it we'll see I like it alright so taylor all yours sweetie no no she's going in the black chair and we will move furniture so give me the sixteen thirty five dammit I like where this is going taylor taylor what is going through your head ok what's going through my head that she wants to beat me of course you know I have to be so I love competition oh yeah um I love the contrast between the black and the white in this chair and then we've got shiny and dull shiny with the jewels and then dole in the leather type and with all of the tuft ing and ornate stuff going on I just think it's going to photograph amazing especially when I can go wide with this shot get in super close sells cringing right now I think I think I got you beat yeah yeah I feel pretty good last one was good that is awesome dude that will add it really really well so what dude I love this so I don't know if you guys can show ninety nine thirty one up in the booth and I would say nine twenty seven in the booth side by side so if you can write think about it two shooters all do we both have been trained to the same system yet we see the world completely differently and that's okay we move furniture we're definitely willing to move furniture in a room to make sure we're getting the detail shots that we need and that is not uncommon for us to move everything out of the room clear all the junk out of the room get the bridal party working for you let's photograph a few more details in here taylor let's move this around what I'll do now and I'm going to come for questions in about three minutes what I want to do now is remember what I told you I want to isolate every detail so what I'm doing here is I'm switching to my mackerel and so this is one hundred millimeter sorry hundred millimeter two point eight macro lens and what I want to do here is get a very tight shot off the rings but notice rather than just shooting a shot of the rings I'm using the shoes in the background okay as as just background I love layers okay so I don't know if you guys are seeing that I love it okay and then what I can do is I'm gonna maybe push this watch this I'm gonna push this ring to the third so I took one dead center and now I took it I'm pushed into a third and the reason I'm doing that is because that'll layout better is maybe a background shot in the album I'm always thinking about the album speaking of second shooting sal why don't we show people how we switch lenses we showed him yesterday you did we did we did well all right so let's get these earrings all right when she want you set this up I'll go on and off with okay now remember your second shooter at this point time would be photographing all the candid things in the room on ly one shooter should be working with the details there's no sense in both of you working on the details what you're looking for like thea ornamentation on the bed frame if I can get the rings to stay up here I think that could look really cool when you bring your a game right now I always have my a game and you still like those fall I'm gonna switch back to my fifty the fifties actually my favorite lens fifty one point two and all shoot as much as I can during the day with it now keep in mind while this whole while all this is going on your client's watching they are loving this because they're seeing you utilize all these nooks and crannies and do things in the room that they did not see when they were thinking about their pictures for that day wanita mike what do your settings when you're shooting the rings when we're shooting the rings I was at two point eight as faras I er aperture yeah from rapture I'm always a two eight I love shooting wide open that's very much my style you've got to find your own style but of course when we're in rooms like this using available light you need is much right you needed to be as fast as possible so that's again my particular style darling what about if you don't have these ideal lighting situations where you might need a video lighter speed light are you trying to find places to put something like that I mean what would you recommend if you didn't have this much available light yeah well hopefully whenever you're working with your bridegroom did you like what you got there yeah well when this is popping up on screen it may not look that special but I know whenever we get to edit it it's gonna look amazing we're gonna be oh ornamentation yeah nine forty five that's great that's gonna edit really well so no well done another another dynamic but let's get those down lord failure only count okay so um what was your question speed light so what we do in this situation hopefully most of the o'briens are getting married in a room where there's windows but not always right sometimes we get ready in the church is in the basement and those are absolutely horrible in fact in shutter magazine I just wrote an article called victim of circumstance where I had to photograph a bride in a room with nothing but overhead fluorescent light and we had to make it work and there's pictures of me literally spitting on a mirror cleaning a mirror to get the smudges out of that mirror because I've got to do what I've gotta do to get it right so that being said that's why I've got video like my bag where it's a continuous light source or I would use the lamp shade here's a perfect example I've been in a room with no windows ah hotel room no windows and just can lights up top so what I did was I came in here okay I took that off welcome to my new light source and so I took one of these put it on the side of my bride I took another one I put it on the other side of my bride and this was my continuous light source right dude we've got it you gotta get your macgyver on right you've got to figure this out uh do do what you gotta do so but I don't want to do is have this light source and then mix it with natural like is that we've got a mixed lighting source but if I were in this room and it was night night out I'd be using this but this is where it comes and it needs to happen in the sense off you've gotta have a fast class because this isn't going to put out enough power to be that four or five six you're going to struggle or you're gonna push up to some high I itself and I don't want to be there so in the spirit of time um hit me with questions all right so I hit you with our best shot of a question here from well while we're doing that why don't we have you go ahead and put on your hair get so now at this point good point once we've shot all the details okay now we will clear this area out because this is exactly where I want her getting into a dress and so what I don't want to have happen is this being the way I need this is wide open as possible so we're going to slide this out of the way and for time's sake I don't want you getting into your dress in front of the entire world normally I would step out of the room and that's my bride wanted pictures of her getting into a broader wanted something a little sexy I've brides all the time they don't want they don't want something they're not looking for news they just want something that's a little playful a little more sexy and we'll do that for him as well so whatever they want but for the sake of time let's take your dress let's get you back in that area get into address but here's the thing do not button it don't sip it nothing just come in and holding it onto you so you can go in that other room let's take a few questions while we clear this out good okay patricia de gene had asked you do you include photos um your second shooter has taken when you work with the bridegroom and just generally what percentage of second shooter shots are in the albums in your delivery bols that's a great question so yes we are gonna include second shooter shots because they are part of the event so those air included as faras a percentage goes I can't answer that because it really does vary by events so it depends on how good an angle my second shooter has but my mindset and taylor's mindset as primaries were shooting the event like we are the only camera so we're assuming that nothing will come off our second shooter and maybe that's the most pessimistic view of the world but I'd rather assume the worst and be surprised right then praying they got the shot and then they come back and they don't have it so that is kind of our mindset then if if we're surprised that more of those images will be used in the so a lot of folks are asking about both the first and second shooter being here with the bride versus splitting apart to go one bride one groom you talk about that we can very very observing guys we will not split up our shooter's under any circumstances and there's a reason for that as I'm directing the bride and I'm working with her jewelry in her shoes all these candid moments are happening and if I am by there by myself I am guaranteed going to miss those candid moment there's another reason we have the slideshow and when we're on the second shooters are second shooter's typically don't have two card slots in their camera so sell shooting rob put small j pegs too a smaller cars so we can build a slide show later on during the reception and if we're missing the groom getting ready we can't play the slideshow right we need all those images but I don't think the average person is doing slide shows and to that point I like that the ability of you is my second shooter in this situation getting those candid moments which is very difficult for me to do as the primary because every time I raised my camera they're going to know what's going on and how do you know you you're going to be able to match whatever the bright house from with the groom has does the second shooter no okay I gotta close up shot I need a close up shot of the groom great point yeah take another one okay kelly go till she comes back okay that sounds good right kelly kelly kelly had asked let's see where's your question about having so many people in the room usually in a situation like this and there's clothes everywhere and I mean how are you this is pretty spacious and open how do you normally deal with the reality of this room we put church bridesmaids toe work so whenever we come in we'll introduce ourselves and like okay ladies I need to photograph her getting into a dress right here and I need all this stuff cleared out it's gonna be in her pictures can you guys help me like all right let's do it they start grabbing stuff and I'm now I've got like ten workers yeah ask for help there's nothing wrong with that and we do that as soon as we look walking because think about their living in this hotel room right now so the bride's maids have all their hair makeup food everything's laid all around I don't want that stuff in my photograph so I'm gonna move that out of the way good point let's take another one okay back to the time that you're in here uh the one hour is all inclusive the details and the bride getting into her gown and all of that is that our hour to an hour and fifteen minutes okay I'm not taking any formals of the bride or the formals of the bride uh bridesmaid's I'm gonna do that later during the creatives alright so I want to show you guys something out there and you tell me what you think this is beta so I'm showing you something that's totally behind the scenes this is a posing guide like no other on I'm curious what you think so what this has and yes I am giving you a sales pitch but I want youto tell me what you think about this is this worth this is going to sell for forty nine dollars I'm gonna give you all the posing images and I'll turn it back to camera from each part of the day and so image by image you're gonna look at this for inspiration on your iphone you don't want to walk around with a deck of cards this allows you let me show you one other thing to look at your iphone before you go into the bridal prep before you go into the garden prop okay and get these images going it also has a video built in to this so I want to show you this and then you tell me what you think because this is brand new I'm willing to change things because it's beta so check out this it's got a video built in talking to you from me what I'm thinking about as I walk into the bridal prep what the important part of the bridal party prep is so sound off let me know what you think about that it's brand new uh this is my attempt of what I would call posing inspiration so I just I can't walk around with a deck of cards you know that doesn't look right when I'm going into an event so I think this is the latest and greatest thing it's on your iphone and I think it's cool so not being said I got my girl ready I think she's ready chris you ready to find the last time that would be key we have to be able to buy the dress is probably in that bag all right sister so what you were gonna put you hear news let me see if I close this looks like we got some hard light on your face towards the window yeah there you go good good let's back you up a little bit more you're gonna be right there turned towards me beautiful okay turned totally square up looking out that window you've got it all right move this chair gun were controlling the environment okay taylor I'm going to go with my fifty I'm going to shoot with my fifty millimeter all right guys I don't want you tied anything up yet how are my bridesmaids doing we're good all right you ready to rock this out here's what you're gonna do chris you're going to look out this window so turn towards me okay you're gonna look out that window and you're just gonna have fun this is the most fun you've ever had getting your dress tied up ok so you love getting your dress tied up no funny faces okay right ladies what you're gonna do I don't want your tongue sticking out while you're trying to figure out how to tire dress yes I would not be good all right so I want you having fun this is the most fun you've ever had tying up her dress okay that being said get your hands on your hips have fun be silly enjoy your day all right here we go so I will give my client that instructions I'm at four hundred and I would go to about two point oh wait stop for one second wanna pause everybody taylor instinctively instinctively went here but what I want to understand is why she's here here's the primary shooter I've got my bride I've got bride's mate and then I'll create another layer and have the rest of the bride's maids here so this might be mom sister here but I want all my bridesmaids here so I have three layers that I'm shooting into verse just the bride and I've seen the rest of this room so for those of you out there who was saying what do you do when you come into a room and it doesn't look this good it doesn't look this spacious guys every room we photograph and doesn't look this good some of them look like complete garbage you know and I'm okay with that because what I'm doing is I'm layering this image with people that matter it doesn't matter what's on the wall it doesn't matter what junkies on the floor I'm here in a waste of fashion taylor instinctively as my second shooter picks an opposite angle of me and taylor's mission is to get now the hands and the expression of the bride's maids while I'm focused on the bride that is one of the main reasons we won't split this team up because I'm focused on one part of the day off my bright and taylor's focused on a completely different part that I wouldn't be able to get as a single shooter so let's work through this hands on the hips you're looking out that window doing good christ you love you love it out there looking at me chris beautiful good smile awesome now coming down your hands thinking about details I'm gonna poke in here we're moving somewhat real time notice as taylor's rotating with me she's paying attention or what I'm doing yeah I looked back there again I love it give him a little giggle back there you love it there tickling you I hope not okay awesome good job let's see some hands everybody noticed how we are moving and rotating around the bride it is a well oiled machine here and then if I've got the ability now I feel like they're moving slow tying up that dress we're gonna switch I'm gonna go wide taylor's getting the fifty I'm coming back here taylor all right just a different perspective moving again now I'm gonna switch lenses again I'm just moving and you guys were trying to like speed tie this thing I think we're on a race here yeah normally done tying will take anywhere from like I would say fifteen minutes to tie that thing how long did it take yeah it'll take a while so you girls better get it together all right let's see you looking straight out that window good gonna come here what some a little tighter can I get that fifty again so I'm rushing a bunch in the beginning and then I'm slowing down and I want to get something a little bit more artistic okay well smile out there can you look back over your shoulder for me uh this way you had just looking down a little bit beautiful eyes right at me perfect love it old and beautiful right and then take a step back right let them tie don't be in their face don't be shooting when you don't have to look for moments now look around the room is there anything more creative you khun do inside the room while they're trying to tie this because the next thing we're gonna do is we're going to have her put on her earrings have her put on her uh her bracelet right whatever else she's got she's doing something here naturally with her hands hold your finger for me just hold one figure yeah your uh right for me giggle over there with your hands on your heads well I love what you're doing just grab me a dress like that yeah yeah fun with b q to get me a cute little giggle I love it awesome if you're good you get what you need yeah right I'll constantly talk to my second shooter you get what you need anything else you need anything you're missing where's mom I'm looking around the room where the details okay so for the sake of time all right you have questions who's got questions let's let's get him girls do you ever let you ever let your second shooter get eye contact with the bride so it looks like they're the primary shooter as well and how do you deal with that that's an awesome question so what I would do is I'm paying attention to where my second shooter is and when I want the shot of my bride looking away right I'll say do me a favor uh you put your hands on get stormy chris look away to your left looking right a tailor and so I'm getting the look away shot taylor's getting the shot looking right at camp so it's exactly how we do it thats a great great question you guys probably couldn't hear me but I asked her one time to look down looked right at me and so whenever cells not directing her I might have to do something a little small like that so I can get a really good shot from my angle don't be afraid to let your second shooter call for a shot so I train my shooters don't be afraid to call for a shot if you see something that I'm not seeing because I have a wrong angle that's why you're my second shooter call for the shot it's okay let them give them some latitude to get the shot they need they might surprise you both a male and a female second shooter and I see the positives and negatives to both do you have any preference on do you do you shoot with other guy photographers do you have all women you know do you have a preference deal no actually my primary second shooter is amount uh his name is gage he's right he's my second shooter hey I work well with him he works well with me he he anticipates so for me it's it's very important male or female I could care less what's important is that they can't anticipate what I'm looking for what I'm going to need next and that's more important than anything else I can teach them how to photograph I can teach them how to anticipate so I need that in my in my shooters do you have a preference in the way you work with eliza who happens to be a female and you two just get along right I mean it's just it's a personality I like to get along my second suitor makes for a long dead and ten hours in a car with somebody can't stand especially when you're like me and you don't talk you need someone talks that's why you're married to me I just entertain and most of the time so she's like he's funny I'm not married could we ask a couple questions please quite a few people are asking about getting pictures of the dress on by itself on a hanger uh like gi joe gillis and a couple other people do you get that shot yeah that's a must have shot right we're under some time constraints here that's a must have shot so we would have either hung that that up what's really popular right now are the bride's getting the hangers with their last name or date on it we try to utilize that again anything they've spent money on is something that you need to invest and take a photograph but do something artistic don't just do a drive by take a picture do something like we're doing use the elements in the room use their dress so we want to shoot the details of her dress solo dress hanging the dress from behind all the things that led her to buy this dress she fell in love with his dress for some reason okay I don't want to just take one grandiose shot of the dress I also want to isolate some of the details put your hands on your hips for me all right so I might do something like this okay turn around for me I also might come here and do something like this and here all I'm thinking about is the album you know and I might I'm going to get a little bit more angles and things like that but I'm just doing things and you're seeing those pop up that are just details I know they're going to use on the website on there in their album the other thing I would love to do right is just bring this down where's uh makeup did we lose her okay well what I would want to do is get that over her eye and maybe do something artistic right just a beautiful head shot of her for her album a cz well just looking out the window using that beautiful light so yeah all those air important okay all right so from just love me photo and design from chicago as you're just talking about thinking about the album as you shoot are you shooting a particular number of ratio of vertical shots horizontal shots or do you do both for everything justin yeah if you if you were following along with my progression right I'm vertical horizontal tight middle wide as best I can so if you think about when we were photographing the reins I took some vertical shots off the ring with the shoes in the mirror in the background that were bigger wider shots and then I used my macro lands and I took tight shots of the rain and the reason I'm doing that is to give me a cz much diversity is possible for the album so the answer is just mix it up follow your flow I'm not thinking about oh they've got a square album because guess what clients will change their mind they do it all the time so so we have about ten more minutes till our next twenty twenty five we're going to two forty five I'm sorry we have twenty five minutes twenty five minutes good okay you want to just keep shooting no I'll take a couple of questions more positive on the time I am yes double checked because we started a little bit later okay sorry didn't get that memo so people are still really curious about shooting the groom getting ready versus the bride getting ready you guys both being here what if they get ready at the same time well that that comes down to the time I might not have if you're doing the times keep forgetting about this timeline people remember what we talked about I take one piece of what we're doing you have to understand I want you to plug your foot photography skill into our system and I promise you it will change your business it will change the result and that's one of them taylor keeps talking rushes like if you're too controlling the timeline review there's no way that the groom should be getting ready a same time the bride is however if that would happen then you deal with it when it happens but since we're dealing within an hour in advance or I'm sorry a year in advance we don't worry about that too much we have a question yes I was just curious when you shot the I think it was the ring with the shoes here and you mentioned that you got theme ear in the background what lens did you use with that remember no that was my twenty four millimeter uh one point four lands twenty four millimeter yeah good to see that shot come up or no so we'll show it to you later but it looks really I thought it looked good I thought I'd be appreciated did the internet vote because everything that happens on the internet is true absolutely well I really appreciate you guys reiterating that timeline thing over and over that he was the questions keep coming up so it's really good to just be like yeah you guys are in control this year the conductors of this orchestra they hired us to be experts wei are their trusted advisers so if we're their trusted advisers and we're the expert than act like an expert and tell them how their day should flow that's what they're relying on you for if you just want to be a fly on the wall and just be like oh whatever happens happens then you don't you're not controlling your recipe and maybe that's a good way to think about this this is a recipe for success uh your photography skills might be different in mind you might see you know I showed you how here we are in the same room taylor saw the details one way I saw the details another she's not right or wrong I'm not right or wrong where artists that's what we're bringing to the table but the system is key you've gotta operate within the system the framework so it works cool anyone more one more all right that was a good one yeah it was a question from kristen and she wanted to know do you have your second shooter backing up photos as the day is going along or do you just wait till the slide show in between the reception and the wedding are what are you doing I do not for the slide show the day of the wedding I do not use any images off my second shooter's camera uh we use them primarily off the primary shooter's camera because the second shooter is getting great shots but ninety percent of them are from a second shooter's perspective there supporting shots primary shots the big shots the architectural shots are coming off the master camera so I don't have enough time when I'm trying to prepare a slideshow to go through not only the images on my camera but my second she just also sounds like they're asking if we're backing up during the wedding during the way and the answer is no we don't back up until we get home that night as soon as we get your apartment work for sorry I mean something a cz part of our workflow I'm not backing up during the day I don't have that kind of time coming all right all right let's keep going so right your dresses on ok and now we're gonna do is we're gonna put your earrings on and here's all I want you to know when I want you girls doing is I want you standing right here may be handing her the earrings so I'm moving them um and what I'd like to do it chris is back you up a little bit okay so here's where I go back a little bit more chris stop right there beautiful so here's what I'm doing with chris's I'm backing her up there's this gorgeous mirror right here I want to utilize that mirror okay is part of the architectural element I don't want a tv in my background that's not exciting nobody wants to put that in their album um I don't want you some random pictures on the wall right so now I'm using the architectural elements in the room to my advantage so but I'm gonna have to do is slide this way sweetie good good help around and you're perfect right so what I want you doing because they're very patriotic yeah did you guys do this on perfect with red white no it looks good the day after election that you didn't do this on purpose I find it hard to believe all right I want you looking out that window looking right at me beautiful you're having fun you love putting on your ears smooth so I'm taking more of a layered side shot taylor was taking more of a straight on shot looking at camera now again we're telling everybody what to do we're handing them the details what you girls are gonna do is you're gonna put just tied it on behind her chris you're just gonna get to keep your lift your hair up for him chris keep your hands on your hips are out front love it chris just feel that necklace form spring shirts there right just like you chris I would say hairstyles going forward is it office shortly I like it like that good good that is absolutely beautiful ensuring that out for you awesome what else do we have let's get your get your shoes on now here we go she's gonna put her shoes on hold on don't do anything come right here okay I'm gonna move her here she's about to put her shoes on so what we typically do is one bridesmaid is going we're not gonna have her bride sit down we're not gonna have her you know try and get all uncomfortable in her dress she's probably gonna stand up you're going to help her balance and you're gonna bend down and put the shoes on so what I'm gonna do is I've got my sixteen thirty five on I'm gonna lay down on the ground and I'm gonna talk to my second shooter I'm going to say you got you got a top I was gonna have a top she's holding a twenty four seventy I'm down on the ground with my sixteen thirty five I'm producing a different perspective than taylor so here's how will go go for it girls have fun excuse me good really good think think like you no I love it when I want you to put that foot forward again that was beautiful get on that toe yes and twist your heal that way beautiful right there and let her hold her dress up by herself so you bump out awesome have fun with it let's get this worked up show a little leg sure little like it you get this piece hanging here yeah there we go gets get on that toe have fun with it yeah there you go perfect push I left foot forward right foot yeah thank you for knowing what I was talking about a good job all right so now we're messing around with those details and I feel good I feel comfortable about what we've gotten if I've got a little bit extra time I might try and do something with the bride alone may be in the chair something along those lines so questions ladies how my girls doing lens selection is that all makes sense do you what does it do people were asking about using a macro do you have the details one hundred millimeter for the details I was using a one hundred millimeter ah macro lens two point eight okay so we have to go okay there's a really interesting question um this is from a detour ooh who would like to know how taylor would you manage a crying bride and we'd like to know how you how you had managed crying bride and then sow how you would manage a crime bright happy crying why she's crying well I'm just saying if she's emotional during the whole process I mean does does does that ever happen when they're getting ready or just the whole throughout that whole goal tears are gold good years were good tears a cool tears or not I know I got a bad tear story do you have a good to your story yeah yeah brides crying especially like one of my rights their mom had passed away and so when she was getting ready she was so emotional just putting on her jewelry and think I wish my mom was here and getting like her tears watered up then uh she had this patch from the back of her dress from her mom's dress so I had it open and her looking back but you know when she's crying and just embraced the moment if it's good tears like that you know let them be emotional and then you know get a cool shot something that documents it but then you know let him be for a while and get himself together but you get back to back away don't get in my face the whole time would also don't don't not take photographs right because I think like tower saying that his gold I'll tell you I was going tell you horror story I do have a hard story for you guys don't like those who gets upset their real life man I mean so but I have a good story uh no dogs died in the making of this story but I do have a good a good crying story um we had a bride groom the mother of the bride had passed away probably about a year before the wedding and the dad came in to see her for the first time and it was just intensely intense moment and she was here facing the window dad came in and was set up dad we knew dad was coming in to see her for the first time what wasn't set up was the raw emotion that came out of that she broke she had a breakdown dad had a breakdown they were hugging each other I just squeezing each other so tight you could feel the moment and I just tried to back out of that space as much as I could take a few frames I wasn't burst shooting but I wanted them to I needed to get that because that was a very very powerful moment but again we don't want to be overly intrusive in those moments we've got to be respectful but we also need to think about that is what they're hiring this for is to document those that is an amazing moment we don't want to easels great answer thank you two different perspectives so anything else that's keeping yeah oh yeah oh yeah so some folks have noticed that we have taken down the artwork the walls in this hotel room is that something that you do normally do and if so do you ask for yeah I do not I do not take that down the artwork the artwork was taken down right because we're broadcasting over the web with you what I know cleaner background no no I don't ever unless it was horrible yeah because normally this stuff is you're screwed to the walls and it becomes a challenge to get it off so unless it's absolutely horrible I will actually block it out by using my bridesmaids and layers to avoid that so but I will move furniture I'll move furniture all day long okay okay question about the video video people during would you bring video into this situation where they working yeah let's let's do this can I make a move that great adam all right so what I would do is she would be here ok I'm the primary shooter you're my video guy you're right here so my video guy is my primary video guy is right here over my shoulder so let's show you to give you perspective I would be working with my bride okay and me and him are shoulder to shoulder right we're getting real cozy with each other it doesn't matter he's not worried about interfering with me I'm not worried about interfering with him he understands that we both have to get the shot so let's move up a little bit closer right and I will guide my video people right and so now here we are okay let's get your hands on the hips looking out the window okay pretend like you're putting on the dress again help around look right out that window there you go and now here we are and I'm gonna show you my frame and then we can cut to his video footage look up there again you looked up at the window that's awesome that's beautiful big giggle there you love that building it's a great building huh okay all right so now we're cutting you know we'd cut to that camera so I'm still directing but my video guy is just moving around me and you've gotta allow if you've got a video team whoever's asking that question don't be afraid to let get cozy with your video person so that they're getting just the same solid footage as the primary camera all too often videographers tend to stay in a corner right and state try to stay out of the way I encourage my video team to be right there with me so good question cool question was from a studio so thank you welcome so taylor uh you've said that you're pretty quiet and so the question was with your second shooter does that second shooter direct a little bit more or don't or is your style just tio not actually be doing directing I am directing so I am very much in control just like south and control I just go about it in a quieter way right yeah we're actually both in control we run our day's the same right that's how we're training because it's a system right and what I'm looking for you guys to do is take your shooting style and just work it into your system what's going on lisa why having so much trouble right your face is like pretty right right right now thanks uh when you're doing your slide show you incorporate any of the video into it as well or layer it or is it just simply images just simply images the video aspect to do it on s t e or same day at it becomes very much a challenge and we don't want to mess with out on the wedding day we are still primarily a photography studio uh so we don't offer a same day edit from video uh we only do it from the photography perspective and offering that same day social very good question already passing that over to me kenneth starr from lets get one here um I guess just love me photo and design had asked do you have a siri's of shot she always get and then you go creative when you have time and then someone else had asked I'm sorry and go I'm not really sure who had asked this but if you have a shot that you absolutely always get and you miss it will you we reconstruct the shot or we let it go that the answer to that is depends but let's step back that was that like kind of posing god I was showing or inspiration that's from we did that for our team in our second shooters so yes there are shots we I absolutely have to have out of an event eighty percent off if you look at an event that taylor photographed looking event that I photographed you looking an event one of my second shooters took over like a studio c wedding eighty percent of it will look identical as it should I think there should be consistency out of your studio people are coming to salvador cincotti photography for consistent experience it shouldn't matter which photographer I get twenty percent of the day have at it go crazy like right now we've got a few extra minutes what I want to do is I want to take this couch out of the way I want to put this black chair there utilize the mirror black chair my bride and try and get something with a little bit of attitude that's only because I had a little bit extra time but if this were a normal wedding day and I didn't have that kind of time I'm not gonna be able to do it and it's not simple so with that being said I've answered that question let's do this shot so I do something right you got about five minutes five minutes on my own you can go next taylor this is my shot all right hopefully this isn't artwork all right so what I want teo just everybody at home knows this was not planned so amanda I love you so now I need that chair and that to me and if you're asking at home that's good that's good that's good if you're asking in home what I do this in a normal tv room in a normal hotel room you either don't know me well enough or you're not paying attention one of the other the answer is yes absolutely all day long okay so what I want to have you do because I want you in this chair okay but I don't want you square down because that's gonna make you look all strong stop so what I want to do is see I'm getting on this left hip and I want you to come over with your legs like this and I want that right toe pointing towards the ground and then maybe you're you're a little bit like this or like this we'll see what looks natural all right probably gonna switch here off the top of my head I think I want a thirty five millimeter but we'll see beautiful and I want I definitely want to pull this up because I want to see your uh definitely see you're choosing some like all right let's kick this foot out beautiful and let's try and pull that up let's hide this and we go on keep that down all right we don't you look happy there all right so let's see shook so you look a little up here so can you sit up a little bit more for me how about that right hand's on your hip like that let me see you looking out that window beautiful all right let's go with that go ahead looking out that window fixed that girl for me taylor please and as a second shooter I know that sounds gonna be shooting wide from here but for my angle here I can get close up three quarter and get a beautiful portrait of her so I'm getting tight while sells getting wide can I get my sixteen thirty five please so with my thirty five millimetre I was too close from switching to something wider sixteen thirty five and I'm not gonna waste a lot of time I want one shot here that I can probably do so hopefully do something with in post want to okay and I know this is gonna look good when we get to edit it so give me a little more playful chris out there there you go now I don't want you to happy right I want you like tyra banks sassy smile smile with your eyes yeah I know I just wanted where you screwed that you're looking out this second window here beautiful that's where I want you you look perfect stay there telecommuting me favor fix that curl notice I'm obsessing about as many details as I can without slowing down the pace of my shooting okay I want to see a little bit more here and yes I'm gonna come in here if I gotta manhandle I'm gonna do that because I want to get the shot I need alright I really love the way you look right now is beautiful right there one too one more look down at the ground for me yeah but you love the ground just give you a little smile down there tell me so you looking to make a change in me and push your chin out and down beautiful lena a little bit more if you can yeah and then just like that left here hang yeah beautiful also good job okay and so that would be I would try one shot if I get it great I don't want to obsess about that shot and go nuts doing you did great thank you so much all right so that being said we could take a couple questions and then we can hit we can hit break right how my girls doing you girls okay and I'll let you see on the brake what I'm taking in the back of my camera cause I know you don't have the luxury of looking online I think I misspoke so we still have eight more minutes but we could go to break whenever so let's get let's let me let me let me take wait you need to vote whose picture is better we can do this if we don't vote I will never live it down taylor will tell me forever until client she's better and uh go ahead and get there okay now can you get your hands on the back like this and really pop that hip yeah but then look out that window yes I love that okay all right this is gonna be a test shot notice I'm not stopping shooting here now taylor's working I'm just gonna let her work and I'm still gonna shoot so a little smile out there looking down your arm almost yes love that and right at me perfect good get too slow huh I notice every time taylor said ciao right I realized I'm here shot him in the reflection in the mirror not to jump out on get out of her way so this was her shot I let her let her take it and set it up and so notice you can have two creative people in the room and there's nothing wrong with wants somebody else taking control of it so uh well well done how about you how did you feel when your not miked up so I'll just translate whatever you're saying how did you feel about it I know it's crazy with cameras around and everything like that but did you feel like you were having fun did you feel like you were getting shots that were getting shots maybe you would enjoy yeah it actually feels good you know like um because you know that there are shots that's like good shots taking of the moment that's happening that's going natural moments yeah and then you could see some someone else shooting a different shot and you it helps you have that confidence that oh I don't have to worry about like how my albums or my pictures they're going to look because I could see them work really hard pressed I love you I can't believe you found out it was like I paid you to say that she used the magic word that word was confidence on if it's one thing you'll understand is that our clients always feel confident that we're getting the right images even though they don't see what's going on in my camera I may show them from time to time that back in my camera but the one thing they're not seeing is real time what's happening yet she used the right word and she wasn't coached at all on it is she felt confident because she saw all these different angles she wasn't worried for a minute that anything was being missed and and then you know did you like kind of the more high fashion pose thing that we're trying to do with the end or do you want everything to be natural that would've probably flushed out when we first met you but are you digging that well actually it's good to have a variety you know because like even if I have a specific thing that I'm looking for and then I see something different it's look it looks good it actually you know it's actually better that way because you know you're open you'll be open to more creative style and I kind of like that like for me personally I like the diversity you know and like you said if time permits then why not awesome awesome crips that is perfect so let's take it one or two more questions and then we'll hit break and we'll goto groom prep question from anna chorley is how do you handle multiple all kids in the room or is that just a part of the normal chaos I think that's part of the normal chaos we so we definitely have kids in the room uh from time to time running around whether there's group there on the groomsmen side or the bridal side and so we just kind of worked with it it's part of the environment it's part of the chaos now when that brides getting into her dress there is absolutely no scenario well I'm gonna let the little kids get in the way so I will ask for taking do me a favor just hold little johnny or hold susie off to the side and let us get this but usually because she used that word confidence when when the group is confident that you know what you're doing first just walking around like what should we do in here if you notice that that never happened well in something that we didn't get to cover because we don't have you know people are bridal party here when we arrive we introduce ourselves hi guys I'm taylor I'm gonna be your photographer today we're here to have fun you khun b yourselves drink to whatever but whenever I need your focus just give it to me for five minutes and I promise we'll get back to having fun that being said can you please help me clean up the room can you hold on to johnny for a little bit and so I have immediately established myself that I'm in control even though I'm introverted I am now in control and I'm directing them and they have confidence that okay she knows what she's doing that's a good that's a good point and we don't get to cover that your were south from control the minute we want and that's a very very important and not know obnoxious way all right we're just like we're exuding a little bit of confidence even if it's only outwardly confident right you've got to find that that inner confidence in you to control your environment is ok ok another question from just love me photo and design um how do you not get bored when you're doing just consistent shots and then I'd like to know are you guys nervous every wedding or like what do you guys feeling when you're coming into these situations weddings were like you have you know you just have your one chance if pressure to perform I don't think we get nervous anymore but I know why we don't get nervous we don't get nervous because of our city right right and that's that is why I trained my second shooter's you've gotta understand I come from the corporate world you know in college I played sports and if it's one thing that we learned at that moment in time it's like back to basics back to basics back to basic so when you get into that moment that big moment where we're all going to get nervous there's going to be something that makes each one of us nervous in a different way we can't panic we can't crumble under the pressure we have to go back to our training back to basics and that's what I keep referring to when I talk about our system when I talk about our progression I know that if I do just what's on my typical shot list if you will if I perform and capture those images I know I'm gonna produce a great event if I have extra time and I'm a little calmer then I can start experimenting and going out there but I don't particularly get nervous anymore starting out starting out we would be in panic before every wedding so if you're nervous that is normal it's ok it'll get better it'll get better as you build confidence as you get more and more experience but don't think you're alone we I can remember some of our early weddings and we were like freaking out before the wedding one time I love telling stories true story of course uh way were at a wedding and it was my second or third wedding and I forgot to start taking pictures of the bridegroom walking down the aisle after they kiss each other and I was facing taylor looking for something and the bride groom stopped behind me and they said and I turned around and there was a church of like two hundred fifty people looking at me and I'm sure my face said it all and I was like oh shit all right you know when I started taking taking pictures so we all have those moments and you're only gonna grow from well actually the original question was do you ever get bored no I think I changed it to nervous but do you guys ever get way love weddings so I think if you're shooting something that you're not passionate about you will get bored but that's why we don't shoot babies ahh whole lot because you know it's not something we're passionate about but we love weddings and we can relate to our clients so well because you know we got married no three and a half years ago so we can appreciate what they're going through and for me it's exciting to be part of you know the biggest day of their life because I know I'm gonna produce the slide show at the end of the day that's going to make an impact on their life and how cool is that to be a part of that but I think that question might stem from you know where I'm making a statement eighty percent off the day should be identical every time you step through so from that perspective you can get into a little bit of a rut but that's where I used that twenty percent to try something different and experiment and that's where I let my creativity come out so yeah no I love producing a consistent event but by the same token as an artist I definitely want to experiment a little bit more I just don't want every wedding to be like a surprise you know we never know what we're gonna get it has to be consistent thank you for that so there are a number of people that air asking about again how you're working with the wedding planner the video guy uh grandma how our mother of the bride how are you coordinating with all those people beforehand as well is that part of your whole process is being in contact with them for the wedding no just maybe the planner usually not even the planner because if the planners making changes to the timeline or with the wedding day and what we have playing with the bride I still have to communicate that to the bride so instead of doing that and risking miscommunication we typically just communicate directly with the bride and then reviewed that with the planner and so everything is just with the bride and she's on point and she knows the plan what what we have to get and what the order of the day is and so when she's invested that much into us uh I guess the rest of the family just knows that okay this is important to her so we're gonna listen the photographer no you're you're spot on if and I think all photographer struggle with this is when you're at that lower price point right people have value for what they're spending money on and so I know when we were starting out back in two thousand eight two thousand nine and people were paying a thousand dollars for us and fifteen hundred dollars for us that was a lot of money to make for a wedding there's no there was nothing wrong with that money but for some reason in the big scope of things with how much money they were spending on their overall wedding we're a very small sliver of the budget and they didn't seem to take us serious serious at least that was our experience but the minute we raised our prices the perceived value of what we were bringing to the table also rose and suddenly everybody seemed to take everything we were doing seriously and then there's that air of confidence that where when we walk into a room people respect us because we we know what we're doing and after here to be if we've done the engagement session to typically all the bride and groom's friends have seen those pictures they're like oh my god did you do their engagement pictures that those were amazing so they're already fans of ours they've seen our work because she was so fanatical about her engagement pictures and there was all over the place so now they already have respect for us because they've seen our work with their friend and so they immediately listen to whatever you have to say for the most part a great

Class Description

Sal Cincotta presents an intensive workshop covering all aspects of starting, running, and growing your wedding photography business.

 In this course you'll learn about: 

  • Pricing
  • Packaging
  • Sales and marketing
  • Bridal Shows
  • Client Consultations
Sal will be covering every aspect of building a thriving wedding photography business. We'll see the live consultation session with an engaged couple. And we'll walk through the complete checklist for managing and shooting the wedding day itself. This will set you and your business up for success in the coming year.


Software Used: Adobe Lightroom 4

Reviews

Carlos Rosa
 

This class is Gold!!! This class is a must, I have purchased around 20 CreativeLive classes, I'm building my own curriculum, but I did purchase this class because of Sal Cincotta's name, little I knew how good it is, it's a mind blowing and it contains so much key information to be a successful photographer. I was still a little "afraid" to start my business, but after this class, I feel confident because it was like put the puzzle together. Yes, Sal really insist in his blue print, how he calls, to implement in your business and you will be successful, and I do believe that. However, I can't do that at moment, because I'll need more money then I have, but I do believe I can implement the idea and slowly works towards implement all his system. Yes, in this class you'll have all, from engagement section, to bride reception, to SEO, everything you need. Sal is a Genius, an amazing mind, I truly admire him as a person, artist/photographer, amazing Educator, but man, as a business man, he is just a mind blowing, I mean, look at him, he had practically built an Empire in only 10 years and that's enough for me to listen to this guy. With all he has, he could just quit photography for good, he totally don't need, but he is still behind the camera, and that shows how much he really love photography. Totally recommend this class, it will change your life, and I mean it. I just wish CreativeLive would do some update, even if is just in pdf, because a lot of recommendation he does in the course does not apply anymore, website does not exist, the iPhone app does not exist, etc... just an update it would be truly appreciated. And that goes for all classes, you guys could just contact the educators and ask them for an update in those areas, that's all.

KR Productions
 

In 2016, I decided to try and start photographing weddings. I've been a wedding videographer for 16 years now, and have consistently been asked to do this, but never have. Last year, the number of requests was unusually high, and so I decided to explore what all is involved in doing wedding photography. I actually bought Sal's 30 day photo business class here first. Watched it over and over. There were principles in that class I was able to apply to video. Great! I then decided to buy this class to get the actual "day of" mechanics down. I've watched this over and over as well and started wading slowly into the wedding photo waters. I have the benefit that my second shooter, is actually a photographer and has been shooting all his life. So, having him to back me up with his already trained and creative eye is a huge benefit on the day. (We do the one camera has a wide angle, one camera has a telephoto technique like Sal discusses, and it works amazing) So far in 2016, I've shot one wedding for $350, the next one for $1,000, and now I'm up to $2,000 on my third for just basic stuff. Incredible. Working on moving into IPS, but right now I'm focused on making sure we're capturing the right shots and doing great impressive edits for marketing , and that's already paying off. I had 4 requests yesterday! Thanks to Sal and CL for helping jump start me on this amazing journey!

Paul Marcus
 

Once again.....Sal proves he's the man! Wow. What a great wealth of knowledge. I wish I had seen this a few years ago when it was fresh. It makes me cringe at all the money I have left on the table. Thanks to Sal and Taylor for being so open and sharing their business model with us. I hope to have great report to share with you in 2019 as I put a lot of this class to work in my business.