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Wedding Photography

Lesson 22 of 31

Image Review and Discussion

Joe Buissink

Wedding Photography

Joe Buissink

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Lesson Info

22. Image Review and Discussion

Lesson Info

Image Review and Discussion

what I had my post production guy do from the some of the images from day one and day two was simply clean them up a little bit. So what you're going to see on in these images are straight up p mode right here. This first shot was just a shot that I did in P mode. This is how you would do. And this is the reason why people shoot em. That isn't so cool right there. But however, then I pointed down somewhere in P mode and I got an average meter reading and I locked my meter when I showed you that that was the second image and that was a little more. This was all now in p mode still, but knowing that P mode was fooled by that light from the back through the window, I had to compensate for it. And I showed you how I was doing that vice doing a bit of a scene selection, locking my meter on the back of that camera and coming back up and shooting That is spot metering. So what? What, you're seeing average And then in the beginning, this was straight p. Then it went to a bit of average meterin...

g, and then it went to spot night and day. Okay, I do this very, very quickly and Onley because I've been practicing it in the beginning. When I figured out that I could do this, I was haunted a little bit by the fact that this is going to take me a little bit of practice to do because it was still a bit ugly. OK, so don't be dejected if you try this, and it's not quite getting out to be like this yet. Keep practicing it. It's all about light and the interpretation and your interpretation. Maybe a little different than you. Cameras interpretation. So get to know your camera. And that's key right there. You know, as you saw when we were doing day to yesterday, and we had Canon and Nikon. They interpreted the whole flash scenario of bounds and back to the subject differently, and it needs to be adjusted. So no, your camera equipment keep practicing with what you have so that you can come up with something like this. This was P mode again, P mode without any adjustments, A little better, much better. Okay, so we go from this to this to this and this is what someone in M would shoot. But what? I sit all this two days before now and I'll say it again today. The reason I shoot this in P and I'm able to override it is that so that I have freedom to turn around. Let's simply go of a little button and nail it. Now. People that are really good at shooting an M mode conduce this. I think I'm a tad bit faster because they may have to dial in f stops. I just simply let go of a button. It is much faster, and I need every split second every again. What am I looking for? I've been saying it the moment between moments, that perfect moment between the other moments. That's what I want And that split second, timing that speed, that's just nailing it right there really quickly. Have to time like this before I could get up to my eye, right? So that's what I'm after. And to do that, and that's when he cleans it up a little more. So he was blown out, and then in the post production, he just brought the background back in keeping the values in the front. He didn't want it to be that blown out. So that's what he did with it. Very little work. Do we do in postproduction? Very little. I want this stuff to look, you know, this is straight p mode window light from the side. Open it up a little bit. He worked at a little bit, and then I know what he did on the next shot. He would have reduced the lines in her face ever so slightly right. And her cheekbones right here. Just take it down a little bit. That's it. Don't remove the, you know, stretch lines or whatever they earn them, right. Thes thes these air earned. So I don't want to remove them. I would like to minimize them a little, but I won't remove it. So if you start right here, that was the initial grab shot. And this is his post production. I can see a little vignette ing that he put in This is light room stuff. And he may have done this a bit of post in photo shop the 3rd 1 because I think the softening in that specific area. I think it's a photo shop thing that he does. But what I'm saying is this is simply a grab shot that was done by the window and we take it into post. We bring that on in light room and then he just doesn't touch more in photo shop. Not a whole lot. And it's just a available light. Grab shot, right? Very little work done. Alsop mode. All of these air just and then a little enhancing See ever so slightly. So we started with something a little darker right there. That's that's the program mode that it would have just seen. The way the camera sees it and interpret the light that's there. And then I as you see the background and then I go down, lock it up a little bit, do a little bit of an average meeting. I like drama sometimes, so I don't really want to see a whole lot of light in the front because I like the rim lighting that's on there. Ah, but then he brings in the background a little bit and then opens it up. Just a hair in front, just a hair. I wanted to look like a photograph. I don't want it to look like this was a huge postproduction scenario with all the actions and filters. I wanted to look just like that. So here's where we said Okay, straight on. Great. If it's a profile, right, I would have been nice to have a silhouette. I love silhouettes, but when they turn towards you no longer seeing a profile, no nose, no lips, no chin, nothing. You see nothing there. Open it up a little bit. So this was average. This is now spot. If you were in that scenario, overriding it now he opens it up a little bit more. Now, I don't mind sometimes that the backgrounds completely blown out either. And this is what he did to it. So we started all the way. It's ever so slide, but he starts all the way with that. Then I gave him that. This was the average slightly below average. This was more of a spot. And then he worked at a little, and that was it. That's it all from that one ugly photo brought the background in. So I already had locked in at this point in P mode what I thought was between average and spot metering so that I could get this. So the backgrounds blowing out, he just brings it back. A hair gives her a little light on the front, and that would have been it right there. That was a shot. So we started with that. What Joe gave him light room was this. And maybe I think this probably was a little light room as well. So we never made it into photo shop on this one. Remember that grab shot? Boom. And I didn't look right. But what I wanted to get was him and then the people that the stories going on in it So I know the gear enough that I can actually practice this fairly easily. No. And like I said, don't do that with a 72 100. It's not gonna you to get someone's nose hairs. Okay, then we do that. So, to me, the light isn't really the prettiest right there. So how do I fix it? Well, that's not too bad. I live with that. So it looks like he what he did. What do you do? He cropped it a little. You brought it in just a hair direct flash. So here's direct flash. And then I said, Now bounce it right out of 45. And that's what we got. We pulled in that background light, the ambient light. We got this. And then he did that. That's all. Not not a lot of work. Just very straightforward. Simple. So yesterday stuff. Remember I said, eso how you guys feeling? You remember your how he proposed to you. So instead of trying to get them to Okay, look at each other now smile, Okay? No laugh. All right. You guys aren't doing this right. Think of something funny. It doesn't work. But if you say so, tell me, how was it when he proposed You get this? You get that, you get that. And some of these air worked a little more than the others. I just want to show you this is all available light stuff, and this is just buy me. Asking a question is all Really? It's really time. So here's where we set him up. So what we typically would do. So this is just a grab shot really fast. Do you remember what that scenario is? Like? I wanted a really horrid scenario. Okay, where I was really confined to where a lot of us are confined to these not so pretty places. You know, the parts of an alley in the back of the church, that stuff. So this is for me that kind of scenario. Offense, toe worry about various narrow space to see there were lots of things and notice what he did this to me like, Is there anything bothering than a shot? If you aren't sure, Because to me right now, I know exactly what What is it? What bothers me is that little light in the middle of this, right? Yeah. And if you were not able to figure that out, flip the image upside down and that would be glaring at you. Yeah, the trick is because your mind, your brain is such that it has to see things this way. Right side up, Correct. That's that's how the brain works when you flip it upside down, the bravest disorganized and it just looks for the first thing that grabs its attention. So if you're ever wondering in the image like there's something really bothering me about this, flip it outside down the first thing Yunus sees this, then you're gonna see that. That's what you gonna see. So Rich decided to get rid of that. That was what he did with it. So that's all he really did to it. The one thing that bothered him as well I would have asked him to probably remove that bottom pieces. Well, because now look here. Just focus on his back and tell me if in the periphery of your vision your are drawn somewhere else, you're drawn right to this. There's something just sticking out a hair. I'm looking at his back, and something is dragging me to the bottom. My eyes want to go there, and when it does, it locks on to this right. If you to flip that upside down your eye immediately goes there without hesitation, Boom. Like a bee line. So I got him from the back pensively waiting. Then I grab a shot of her peeking around and notice some of these air worked. So this one isn't really this one smooth a little bit. There's a little you know, the contrast control, color control he did to that. She's peeking around. Then I grabbed him from the front because I see her in the background and this is typically what I do with the first few. And then I want her looking. So he's out of focus. She's in focus. He worked this one a little, a little bit getting maybe darkening it a little from the outside. I want his expression as we talk about it. So notice his eyes, not remove the bags. Take, take a look. Look how heavy this is. So for my clients, I want to say lesson that a hair not take it out. Just take the edge off of it. So basically, take the shadow away and it also his eyes pop a little more right. But there she is in the background. I love that kind of thing. Then I get behind her her sharp him out of focus, him sharp her out of focus. And then, as he starting to turn and there's father of the bride. When he first sees her, she's going, Oh, my goodness. And then how you felt? Yeah, right back. Vision of loveliness on. Here's when we walked in. I mean, you know, some of our churches don't have the ideal lights scenarios. Okay, so it was in here that I started teaching. Now this is direct flash. And would you rather have this or this where I bounced the flash a little bit? I'd rather have this because I now get to see, I opened up this in the background. I get to see who they are. Back here is well, because when you use direct flash very hard to kind of keep track of that. The flash goes out here, comes back, shuts it off. So if this is where your focus point ISS is gonna shut it off, the minute hits here and comes back. Boom, That's enough of the flash. Okay, if I opened up to include the ambient light and let my flash go out there and just light me a little bit And I think in post now, I would do for a while moment, I would bring this down some because again, my eye goes immediately to the left side as well. I see this. It's lit up a little bit. I want to bring that down. So remember what I said to you when I go on and have my images on pick Taj. They get to see roughly 7 800 of these cleaned up with color. And then if this was one of my choices as a wild moment, I would say Richard can make this a while because this is going to go into Joe's folder, his favorites folder for that particular wedding with 30 images in it. And now I would clean it up. I would save and yet a little bit. Bring this down so that this is kind of the lighting. It's more about them, maybe a little vignette and get rid of that and thereby vignette ing it. That will be a while. Photo soften, maybe little. I'm not sure exactly what, but we normally do 30 of these, so that the Klein could look out of say, my gosh, because these are the images that will end up in the album, the ones that have been wowed. This is what I'll do to

Class Description

Joe Buissink is coming to creativeLIVE! Joe will show you his award-winning photojournalistic approach to weddings. He'll teach you how to find your own style and bring your own personality out in your images, because the most important thing about photography is who YOU are! Your clients want you for your passion, and Joe will help to bring out the artist in you. Joe will also get into the technical aspects of his business, talking about how he designs his contracts, packages, and prices, and why he designs them that way. Joe is an internationally sought-after wedding photographer who has shot weddings for celebrities including Jennifer Lopez, Jessica Simpson & Nick Lachey, Christina Aguilera, Katharine McPhee, and others, and now on creativeLIVE he'll share the passion, knowledge and skill that makes him such a success!

Class Materials

bonus material with purchase

Joe Buissink - Wedding Contract.doc

Joe Buissink - Wedding Contract.pdf

Joe Buissink - 2012 Packages.doc

Joe Buissink - 2012 Packages.pdf

Ratings and Reviews

Student Work

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Carlos Zaldivar

Joe, This is a amazing course so much information. I am a wedding photographer that loves your ways. Your self and Dennis Reggie are my favorite photographers. This course is the best. Thank you for sharing all of your great information. God bless you for being such a great person hope some day to meet you so that I can thank you for everything. I look up to you every day and have also read your book wedding photography from the heart. Your a great inspiration to me which makes me love being a wedding photographer from the heart. Thanks again for everything you share. Carlos Zaldivar, New Jersey Carlos Zaldivar Photographers-

a Creativelive Student

I feel like this course with Joe Buissink is a basket of gems. Several times already I have been tearing up, because Joe is validating each one of us, as artists and professionals. Being ourselves, selling the experience, and knowing what we offer artistically IS enough. Of course we have to do the work, know our craft, and have good business sense...But what has been the most valueable to me is the sense of joy that happens when Joe says something that I have felt myself, him sharing so much with us makes reaching our goals real, because he has been there.... when he said he pitched in Dunkin Donuts and still made it an experience..I cried, I have done that myself. (And booked the client:) I remember wishing I had a studio at the time, but now I day I will! To hear him say he tears up at clients weddings...I do that, and felt so silly, but now I feel proud! This is a morale boost...a shot of joy in my arm. Thank you Joe Buissink for offering up your help and advise and for being so willing to share yourself with us. You are inspiring so many...and Thank you CreativeLIVE!! To anyone who is not sure if they want to purchase this workshop...DO IT!!! It is a gem.


I always feel so grateful to have Creative Live in my life, which, in turn, has given me the opportunity to have this wonderful source of information, Joe is one of them, he made find myself as a person when it comes to dealing with yourself and with the client, he vibrates in every thing that he does, every step from beginning to the end, that is the essence, put your passion in everything you do, we love what we do, It was so touching when he said that he tears up with moments of their clients in their weddings, I do too and I thought it was wrong, show our sensitivity it only proves us that we are human, and we can break barriers created by wrong schemas letting us be who we really are and then we can be free to feel and create, and do what we like to do, thanks JOE, thank you also for all the technical information, is PRICELESS. Your course it was my Birthday present that I give to myself, and I have not regret, thank you.