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Lesson 6 of 31

Shoot: Bride Getting Ready

Joe Buissink

Wedding Photography

Joe Buissink

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Lesson Info

6. Shoot: Bride Getting Ready

Lesson Info

Shoot: Bride Getting Ready

When I come to a getting ready room typically um I will move things around question is that pj answer no it's not again the minute I move something I'm no longer a photo journalist but I am trying to create something that's beautiful in camera so that I don't have to photo shop anything later I tried to minimize how much photo shop I used so initially there was a little table here in too little seats and that's great but this is window light right so I know that what I'm gonna do in a little while after I moved us out of the way this is what my assistant does for me I'm good yep so I want youto yeah I can play that back and I want you to think about um I don't even know what that is it's part of the table we don't need it it's wired um remember when I said earlier that you might have a situation where you come in and the bride's getting dressed in from the window it's very typical first of all this to me is really harsh light so you gotta love these rooms there getting ready rooms you ...

always find a curtain like this because you want to sleep at night but what I do is pull this because what is this become see through like this soft box a giant soft box love it okay now if I have my bride here if you can see on her face she's got highlight and she's got shadow three dimensional depth right here highlight shot this is what I want to shoot if I want to make this more dramatic do we have that black jacket where is our host preto um I think he brought that black yeah she's available so check it out here's I come in a black suit I wear black slacks ah black t shirt and a black jacket okay so if you want to catch this from this side let me show you how to do this if you look straight at me like that okay so this has a little bit of shadow let's say you wanted to add more this is called subtract of lighting watch what happens if you take a look at her face dead on that subtracted now there's a little more now there's a little less now there's a little more and now there's a little less okay that's one that's one method so this would have been my jacket thank you for letting me use that this would have been my jacket and my assistant would have done exactly that subtract the light from it now let's say you wanted to do flat lining people always ask me well man what you gonna bring you know I mean you gotta have a lighting kit and stuff you know? Not really well don't you bring reflectors? No, not really why not? Because they're here assistant take a look at her face now we have that three dimensional look I want we have beautiful up lining look at that. Hello, way like that. Look at that flat lighting all in a pillow. Okay, now suppose I don't have this pillow, but what do you have it? Weddings? You have cocktail tables. What did the cocktail tables have on white sheets that comes off so there's my reflector I can always put it back. I want to be a minimalist, so I bring as little as possible. I know that I can find everything that I need at a wedding. Weddings are white, so I know I have reflective material. Worst case scenario you use a little bit of the dress I know, I know and I could still like this thing. So if this dress came up a little more if I'm all all I'm doing is a portrait I will use address the train I will whip it around have my assistant lighter. Okay. If I want to create more drama, I subtracted but all from one light source. And what was the other light source I mentioned earlier with respects to buy flash hitting a wall making a window just like this directional lighting is going to come from the side and here is key follow her eyes if she looks to the left a light that side on the left right from from where I'm standing right so always follow rise if she looks there I hit the flash that way if she looks this way I flipped my flash that way the whole face turned boom because what I want to do is light the side of the face furthest from the camera I want to keep the side of the face that's closest the camera in shadow that's what I want to do so I always take my prom from her and yeah they're gonna be time she's going to be looking dead at me which is fine you can go either direction then but if she looks that way flashes over here so a lot of the times I shoot and I'll show you a church tomorrow where I have one hand literally on camera like this and the other one on the head of my flash moving it as to where I might point it okay so that's pretty much what I do with that little bit of a kid that I have their it's plenty that you see the how dramatic that lighting was from her face with the up lining from that it's so easy to do uh bed sheets anything can happen right so here is where let me see where's my camera and uh I'll change it I'll go to eighty five so typically uh I have to tether myself really quickly so that we can actually utilize some of these images later oh, we having touch ups and everything how cool is that way like that right? A tether sorry, normally I'm not tethered at a wedding but it's all good bear with me guys and girls so we're gonna talk a little bit about techniques if, um I'm shooting this way let's say you know what if you guys were this way kind of like yeah I'm gonna open this up for a second I've seen this more than once where they're standing like that okay in pee mode let's say I'm in pee mode right now let's just say for now so I'm shooting in pee mode I see that guy shooting okay what's gonna happen is the silhouette that's actually quite beautiful? I like it a lot. I like it a lot. Yeah, nice hold that right there that's beautiful and of course you don't say hold it right there. Um but also know that you have to lock in the center of my, um focusing point and that's the only place I shoot from center lock and I don't mind moving this around this is great for silhouette, so I would leave it in pee mode because I'm getting beautiful light and silhouettes and all that uh having said that you can now turn towards me for a second just for the heck of it yeah, I see your face. So now if I if I were to shoot I would absolutely not get a great look on her face at all, right? So here's where I would select and maybe do a little average meeting I point off to the side I lock my meter, I come back up and I shoot it changes my lighting if I want to do spot metering I'm still in p mode I go further, I find a scene selection I lahk it I come back up look towards me yeah boom! I've just done spot metering later on I'm gonna show you the difference between straight p when she's looking at me, which is right there average meeting, which is right there and spot metering all in pee mode all because I used a part of the scene in here because I know like, what is it average mita ring in here? What is spot metering in here? Because my goal is not to think when I'm shooting if because I'm almost sixty two now if I change the dials and I go to, uh you know, spot meeting, I am going to forget in the heat of moments dancing with those moments I forget I've changed the setting on my camera because I'm trying not to think so. Now listen I'm in a different scenario altogether where my program all on its own is gonna be brilliant I know my camera when it fails me and how to override it in p that's how I used this camera so that let's say she's getting ready right here this is a manual person that says m is the way to go and I understand it please I don't want anybody to get me wrong I know how to shoot in him I know how to shoot an aperture problem that's what what I learned first I know shutter priority that is first and foremost that you need to learn because that teaches you how your camera works that teaches you how to see light interpret light but that said now that I have it here this is what I can do with it the person shooting and will see this light and dial it in an em until he gets a perfect exposure because his or her excuse not excuse reasoning will be that from now on these shots will all exactly be the same click click click one right after another cause this lighting is not changing correct correct this is where the bride's getting ready now here's what happens next? The difference between say this light and typically in a room where I am and the doorways a little further away is maybe five six stops between the doorway in here, maybe even more sometimes all some there's a knock on the door and she says who is it? It's daddy! Honey? Huh? Okay, dad, the door opens up. Mr m who's still here? Perfect goes, oh, crap. Because he's not going to get it unless he or she is brilliant and khun dial in immediately a five stop difference because he knows light. Brilliant if you can do that here's joe let's say I want that light I saw that light and I locked my meters somewhere else on that back buttoned focusing that you have here, which is usually custom function for on a cannon but I locked it releases this. All I do is that once this is locked in right here, I can keep shooting, keep shooting and have the same exposure for every frame. Right? My son was still on it correct the door opens in honey, let go of the button! I'm now in program old bam! Gotcha! Five six tops difference nailed him nailed his expression perfect exposure because I'm in pee mode. I want to show you again this little scenario where I'm just justin p mod period and I would just I like it because what we have here right now is hang on one second. Let me go to focus real fast. It went off of focus. I don't know why it went off. Focus anybody know? Yep. That's why? C auto focus that's what we need okay self click click these are all silhouettes because I have profiles I like it so I'm just going to go with it there, there, there now the images will be fine now imagine if the bride now turns towards me completely the whole body let's say she's there and I'm in pee mode still and I don't even need ah, I just want to get a portrait ever okay, so I'm actually now going to shoot her straight and p mode that's going to be somewhat dark so now I want to do an average meeting. All right, so what I do you notice? I don't know if you noticed but her face is kind of on the dark side. Uh, it's it's picking up now a nice life because I'm locking to meet her down here. So watch what I do if I grabbed from here programme mode it's going to be under because it's picking up all this holly so now I want to do an averaging so I look over there, I pushed my button on the back here I come and take the same shot that's average okay that's still going to be dark for me because of how bright the background is now I'm going to do spot I'm going to meet her right here do spot come back up and now fire the same thing and that should be blown out. You'll you'll get her spot meter, but I'll tell you what she's flawless in the backgrounds completely blown out okay, this is what you look like, so if you want to see there's a comparison to that all in p mode and the reason and I know once I have the spot happening down here, so I lock it in, I'm on that button and I fire and I keeps firing here I keep the button pressed in and now if dad comes in there's that right there and I fire he's going to be perfectly exposed because I'm no longer in spot metering, I'm still in program that's how you lose its fast, it stops me from having to think really crucial for me, no thinking, just moving with stuff and things that unfold, I'm constantly moving around and shooting I try not interrupt any flow you ever do this one where you see a great moment, but you're just a little slow on the uptake and you miss it and you go, oh hey, honey can you do that again you were just holding her here wait wait you were holding their hair like that you almost had the necklace that you have like the most precious show me that precious face again you can't do it it's gone it's gone forever so either you nail it when it's happening or you don't and and you can't recreate it it just doesn't look the same when you go can you smile at me again you did yeah she can but it won't be the same smile that when she gave it to you when it was camera unaware and that's what I'm after and the only way I can do this to move as quickly as I do unobtrusive without them knowing that I'm doing it and just knowing how this thing works knowing when it fails me if it's pointed into a bright light and overriding it in a split second and always being ready for the next thing anywhere in this room to photograph by letting go of a button that's pretty much how I use this ok um what else can we do in here yeah well and again you know if if she was now right there all I would have to do was basically just keep her locked in and just keep shooting this way and you're looking over your shoulder down it's just all the way down and I'm just blowing this thing out and literally it's just beautiful light and if I were to do that straight in programme mode it's going to be different it's just going to be different again getting ah profile is great but when she turns towards me if you turned completely towards me your whole body and I'm using this in p mode and you're just behind are trying to work it go ahead and I'm just trying to get this in programme mode I'm just not going now you're giving me a profile you know it's kind of nice but it's too dark and so in that same scenario again if I come down here and lock it and then come back up and look at me so that they can see the difference the light's much nicer it's just beautiful so I know exactly where I am pointing scene selection locking the meter it's a function of practice you just have to look around and say in this room given this lighting scenario looking into it what would be average meandering and what would be spot sometimes I zoom in on the seventy two two hundred on a spot on a wall, a shadow and a crack somewhere I locked the meter because I select that little piece in the corner as spot metering and come back around this front button will always focus for me it's never off focus so I just lock a meter somewhere in here in this room that tells me average spot and go back to shooting I can always function from right here and shoot if you have on a cannon this back button designated in custom function for for back bucket but back button focusing you can't do it foran icons this is both an a a lock and a f lock out of focus lock meter lock got to go on the menu and take the autofocus lock off and make it simply an eighty lock okay, so this way you can focus on the front lock to meet around the back that's all this is okay that's all this is here's another thing that's really cool suppose I'm in a scenario where I'm in p mode and it's saying outside that it's f ate at a hundredth of a second joe once to pointing selective focusing cool in pee mode this front dial changes f stop and shutter speed so from finger now is working africa priority and shutter priority all in pee mode so after the meter has selected whatever it is I can now dial in this front saying you know what? I want f seven point one and then fire okay or you want a shutter speed this is a combination of shutter speed and f stop so you can select four shutter or for f stop whatever your combination is given this meter eating, you can do the same when you lock it down here I know this is a lot of information and I'm telling you you're gonna have to practice this and tomorrow and even later today we'll show the students that air here how to practice this but let's say I did this spot meter and then also assess f four but I want to wait I can still go on the front dial and island to eight and fire so I can select my shutter or my f stop on this front down that's why I said I do everything with these two fingers thumb for locking meter and selecting aperture shutter in p mode okay and it just takes out so much of my thinking it's unbelievable how much it has released me to do my thing here in these moments so that's pretty much it um I know that we're probably ready for some students I don't know if we want to do this right now I do want to address one thing because someone asked me a little earlier on the break about the video light on why I use it I want you to think about this for a second um this video light has helped me and where this came from was an impetus from the videographers that I used to work with a lot whenever I go to a wedding there was always a videographer rarely now these days that people hire videographers but in l a they were loving lee referred to video it's um that video was in my shot you know what guys gals uh these guys are incredible they they offer you light when there isn't any during the reception when the first dance is happening you have no light except flash unless you have a little video like but that's what where the idea came from so I would always look for this videographer whenever I was shooting the first dance because I could do a couple of things I could go opposite the videographer so let's say he shooting the first dance and he's right here and they're dancing I will go on the other side dropped to my knees grab my long lens and what do I get when I'm opposing ah light I get rim lighting on the couple oh my god it's so beautiful and since they're facing face to face I got profiles I've got him kissing her as their dancing I've got all these amazing images via video like in p mode shooting straight into them right now I want the same like the videographer boom I go around and I stand right next to the videographer I follow where his light goes and one day I'm at a wedding and this guy is not there there was no videographer and I went oh my god I gotta use flash on camera I was missing this guy this video I loved him he was never in my shots and when he was he was helping me. It was awesome. So that's when I came up with I gotta get my own video like because I can't depend on this guy being at a wedding every time I'm at a wedding so I like this lightning and sometimes he saw on an earlier slide show that shot of the couple just about the kiss in the back of the limo. Well, I had my video in the front my assistant with that video light saying give me light I want it that rim lighting so he shot that light right through the front windshield toe like that couple as they were about to kiss and drive off so you know, it's been a blessing having that life and my flash when it comes in handy and I need it it's there uh, it's been amazing so, you know, get something like it rented I would suggest anything that you see here I would rent first and try and use it, see if it works for you and then eventually buy it if you want but again, for me glass is important the speed of these lenses there's nothing over two point eight that I have and preferably I'd like one two one for, uh so that I could get as little as needed when I show you tomorrow about what I was talking about, the technique of bouncing light off a wall in creating a window, I want you to think that little flash if you were on an f four f five six lens and you're you're setting was f eight, eight and a half, and you asked your flash to do what joe suggested and as to shoot out fifty feet off of a column in a church and comeback, chances are maybe once that'll work, and then that thing is recycling like crazy because you just dump every piece of energy in that capacity to do that. But what if you had a one point to linz and you're shooting at f to f two point two and you're asking a little itty bitty flash to go way out there and come back at two point two, two point zero one point eight absolutely all day long pop, pop pop, it will do it because you're asking for a little bit of light, you're not asking for f eight and a half of light or f eleven of light, you're asking for two point zero one point eight of light and it will do it and they won't feel it. They rarely will you feel that light come back at you, but it will show up tomorrow, I'm going to show you. In a setting which is kind of like church, that particular scenario where you could bounce light and do all that wonderful stuff so I don't know if we're ready for any questions from the internet, but I'm ready would love this all right? Yeah, the internet has lots and lots of questions isa great it's great because you want to finish your thought and we got to see you working and p mode and now here we go. Okay. All right, joe mcdonald. When did you start using p mode? I started using p mode. Probably my guess is about two, three years ago, uh, I was dialed into m er, you know, and I still used just to clarify a little bit. I say eighty, ninety percent of what I should have been p mode ten. Twenty percent is an m okay where I have to absolutely control both shutter speed and f stop and use a light so sometimes my flashes I control everything for that reason it's usually reception time uh, or in the dark church as they're walking back, I have to control that scenario. Soapy mo doesn't work for me there, but having said that, the rest of it's pretty much p mode in available light and that was two, three years go change so many technical questions about this, okay? Fashion tvs from singapore do you carry all the lenses with you while shooting like wear a vest with lots of pockets or are you rather signalling your assistant for a particular lens when I need you? So good question so what I have is typically three cameras each one has a different lens on it and so whatever I need, I might say medium telephoto long lens they know what camera hang on me is sometimes two to three cameras as it is those three cameras then I will tell my assistant who is in charge of the bag and the rest of the gear said I'm gonna need probably a fourteen and if you don't mind, I need the eighty five one point two on you so she has a little bag, you know it's like a shoot sack and she'll put in two lenses and that's what she carries with her so once in a while so I need eighty five one two and boom, we change out. I try not to do it in the moment, but I I have done enough weddings now to where I can forecast what lens I'm gonna use next, but I tried I don't wear anything around me ever terra v photo asked joe, do you have two cameras with two different lenses on you while you're shooting a wedding ever? I carry two on me constantly occasionally I had the third so they'll usually will be I just give you a scenario really quickly this is my pretty much my normal set up I'm not gonna add all the bells and whistles to it but my twenty four to seventy will be in this mode simply because I'm looking if I'm shooting in the horizontal mode a bounce off that direction for the most part unless of course the person's facing pointing her nose the other way then I quickly do that but this is a default because if I had to go vertical this would be not a good scenario right? Because you're lighting the gray sometimes this works on the beach in california where I like right in front of them the sand and bounce up because I've got nothing else to bounce off of it's pitch black out there I bounced off the scent but for the most part of five indoors and I'm doing this it's worthless right? So that because at least I got a ceiling and then what I do this one hand will dictate where so I may move it thumb on the control here to dial it out a little bit if I want to bounce off here I try to minimize how much I go straight up and straight back down so this's pretty much how you so that's one this is on my other shoulder and then my third one is literally on the shore. So this is what I walk around most of the time. Ninety percent of the time at weddings. This is it. Once in a while in low light situations, see this I have a elbow tripod. I measure my feet in between on my shoulders, my elbow. Rest on this camera. Take a deep breath. Let half of it out and it's a quarter second at two. Eight. Tack sharp quickly. It's like having a built in tripod. I've been practicing this over years to control everything without bringing too much gear. So this actually it's so helpful it's, like actually laying this thing on top of the pillar. Cem so this is how I shoot this one. Okay, so these are the two? They're always on me. And then that occasionally is a third with another lens on it. Usually the fourteen millimeter rectilinear if I wanted to go super wide in the church that will be on this one, questions are always do these things bang into, you know, they don't actually this is pretty much how I hold him. You know? I'm like this and I walked around just like this, and when I shoot half the time I'm shooting right here, I don't get this far. Because by the time this is happening it's too late I see things so fast that boom it's that fast that's how should I know where it don't do this with the seventy two, two hundred you'll get a door knob to get the wall you know two hundred this is not good it's wide twenty four twenty four seventy boom just like that I don't even have to look I know what's in there so I know what I got I'm looking at him but I'm seeing them in the hallway looking out that to me is great so while I have him because he's the first story there is the second stories they're all looking in and that will be in this shot as they're looking okay so that's it two cameras most of the time sometimes three cool to see you in action okay back to the technical questions bear with us if you already answered this no good okay several people are asking including meghan ista and martin seventy seven about so how are you handling eso are using auto oh and what is the highest eye so you will use awesome good question on my five demark two's here's what I do and I'm going to quickly give you the scenario and I will reiterate this point tomorrow in our church um when I go to manual here's what I need because I'm asking my flash to travel a distance and come back it's not the same as direct flash right so direct flash I can probably get away with a fifteenth of a second sometimes if they're not moving a quarter second hand held and you're fine because the flash goes out boom hits him freezes everything comes back shuts off the camera okay, now you're doing this thirty feet thirty feet that sixty feet you need a faster shutter okay so the very minimum that I'm willing to do as subjects are moving is between a sixtieth of a second and an eightieth of a second depending on how faster moving that's my first choice so I'm now talking going tto em em for manual or master that's your bones talk um sixtieth an eightieth the next choice I have is depending on how far that light has to travel if it is thirty and thirty okay I want maybe two point two two point five so I set that now I looked through the viewfinder I got two point two two point five sixteenth or a teeth of the second where's my eyes so so I looked through the viewfinder I'm looking at my meter it's saying dude you're under by like two three stops it's often that the minus column so I now dial in my eyes so till it's one stop underneath the ambient light that I'm looking at one stop minus one that's where I leave my eyes so so what I have is one stop underneath the ambient light of the church which means that's plenty of light just one stop under my flash is going to fill off a wall the ambient light and not overpower the ambient light it's brilliant the highest I like shooting this thing is four thousand dollars so and it's easy today, it's really easy that mark too in light room three point oh are higher they've got this really sick button it's called noise reduction you press it that goes your noise there you dial it back until you have some noise so it looks really nice but I regularly shoot this at receptions in the church thirty two hundred four thousand eyes so and it works beautifully excellent. Uh, question from j's photo and he's an arkansas on dh he's another male friend, male photographer and he's wondering if you shoot most brides in their lingerie while they're getting ready or do you have your female assistant do it? Okay, so very um with a lot of tact I let my bride's know that they could have anything they want in terms of photography they do see some of the images that I have that have their brides in their lingerie some even without their laundry and I let them know listen this is entirely up to you and then on the wedding day when I arrived there it's okay how much of me shooting you getting ready? Would you really want it? You want me to come in? And I suggest if you want me to come in after the dresses on zipped up, do you want all of it? And ninety percent of my bride say I'm not embarrassed, I'm not modest shoot the whole thing he's gonna love this, which is the normal answer that I can't because it's always for the groom, right? I then letter no, look, these I would consider private moments and private moments are on lee put on a disk, they will not be a pawn picked taj, they will on ly go to you and they're very happy to do that. So I say that probably ninety percent of my brides let me shoot them getting dressed completely from start to finish with them not being modest in the least, and then we have the other ten percent. You know what? I'm a lot more comfortable you maybe we can stage the zipping up of the dress with my mom? Absolutely. I'll wait outside the door, I'll close it, you just let me know when I can come in and, you know, that's the way they handle it, so with a lot of tact and letting them choose and make the decision, I don't suggest anything I suggested by shot it before if that's what you want because a lot of the brides are also embarrassed to maybe ask, you know, especially a man, so if they see it in my portfolio, they go. Okay? Does that that's cool? You know, greg really wants one of these dumb shots, so, um, yeah, I suggest that by showing photos that's it. Okay, I have a question from gen author who asked, how do you deal with ministers, rabbis, et cetera who don't want photographers all over the place during the sound less than I love him. And I'm wondering, can I just add on to that? I'm wondering if that changes with high end weddings, if you could do whatever you want, if the universe is depends if if the setting high end or low you know mean what doesn't really mean if the settings outside of the church pretty much could do anything I will if it's a church setting even the high end ones in a greek orthodox church or jewish orthodox church, there are rules, okay? And the person I avoid first and foremost is the church lady like the plague. So here's what's brilliant about being a second shooter. What? Okay, there are times that I had the studio gets ah formal letter from the church thing here are our rules you have to sign it know that if the minister seizure doing x y or z which is contrary to what's on this piece of paper that you signed, he will absolutely stopped the ceremony and I've seen it done in the various beginning stages of my career when I was using flash and church during a ceremony I've been stopped one time in my life the whole thing just shut down and he kicked me out uh, cool, I learned a lesson from that cell the one in charge of that is the church lady. Okay, so I never seek her out because what is the church? Ladies duty? No. Whatever you ask it's no that's not gonna happen. Okay, so what I do is I go up to the efficient I go to the minister, the rabbi, the priest and I say, okay, sir, I'm going to be I'm very much ah, proponent off keeping the sanctuary yours and gods, I'm not going to interfere, I'm not going to step on the altar. I'm not gonna do any of those things. I'm gonna shoot available light. I'll put it in the drive, which actually has a lower shutter noise so that you really won't hear it, I won't use any flash and I'm not going to run to the church, but do you mind if I could just shoot because they really love my work that shows the expressions of themselves as the the ceremony is being performed as they're saying their vows, I look over his shoulder, I absolutely promise you, I will not interrupt the flow of your ceremony. That's why I ask, and I say that most of the time they say yes, yes, the church lady it's, no, if you ask the actual efficient and you come from this really humble place and from your hardest why you want to do this, it's usually a yes. So, uh, that's one of the things that I dio to kind of stave off that whole you can't shooting here and yes, there's been times that I've been completely locked out of the church altogether because bar none by any means can you be in here? So I find a little hole, a little crack can have the door just slightly ajar, and I shoot through the doorway, I find a way to make this work. Sometimes I'm in the balcony and I stand up there and I shoot from up there as long as I don't move it's fine, they sometimes don't want me past the last pew of people that are in the church, they don't want me moving around up front. And I let my couples know that that's the way it is so here's the worst case scenario couple says I understand I still want you to shoot it okay, I guess I'm uncle joe so joe's in the pew with the family that first row with his two little cameras no flash but I'm coming like uncle joe with a couple cameras and every once in a while I pick up, grab a shot and I come back in and I just look and you know, I'm standing I'm kneeling and doing all those things with the rest of the family because what I do is I send in my primary shooter to take the hit from the church lady you can't be in here okay? So he's out and then joe comes in this uncle joe and he's in with the rest of the family who got you okay all right one more question before we go to break okay, excellent. And this is two people are asking this so first one joe twenty three how do you handle the flash bouncing from a wall if the location is big and you don't have any wall or ceiling close enough and also from rampage studios what do you bounce enough when the venu is really huge like a rooftop on in manhattan? I love it, I love it okay, so check it out those scenarios have happened me more than once. Okay. This is why joe has an insistent and the assistant has a light colored shirt. If not white shirt underneath her black docket. That black jacket comes off. She stands next to me, walks with me and I bounce off of her. She becomes the soft locks so light go sideways boom. So I don't get a complete forty five from a wall somewhere. Because it's too far it's, dark it's, black it's, black walls, there's, nothing to bounce off of. I use my assistant she's blinded by the end of it, but she has performed her duties very cool. Yeah, she's like a ray of light she's making you think about it is off camera it's, a giant soft box it's smaller than my flash it's, beautiful like us. It's bounced so she's next to me, she's using, looking over to the side. She knows she holds on to my jeans or whatever. And she walks with not genes but my pants and she's walking with me. And I'm bouncing off her chest and she gives me a soft box of light.

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

Related Classes


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.