Skip to main content

photo & video

Wedding Photography

Lesson 7 of 31

Student Shoot: Students Practice P Mode

Joe Buissink

Wedding Photography

Joe Buissink

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2000+ more >

Lesson Info

7. Student Shoot: Students Practice P Mode

Lesson Info

Student Shoot: Students Practice P Mode

I'm gonna mix it up a little. Nobody kind of is ready for this cause I'm going off the path for a second. So before we have a student lovely student over here, come in and do what I was doing in here. I wanted it because I know there's gonna be a lot of questions about this bounce light scenario and what do I do with this? So let me create somewhat of ah church like setting and use my 51.2 to show the point that I was trying to make. So bear with me a second, if I could have the bride in that doorway facing me a little bit, I'll show you what I'm gonna do. Um, I will strapped his little bad boy on for a second mayor with me. This is how I kind of loop it on. My suit goes through here, and what I'll do is I want that background like to stay on, so pretend this is kind of like a church setting. This is so you get a better idea of what I was talking about. And since she's not moving, I guess what I'll do in this particular scenario is use, say, 1/50 of a second, maybe even Ah, 40th. I nee...

d you to come out a little bit, though, so I now will go to manual. So this is the instant where I go to my manual and I will flip this switch all the way up so I can control both shutter speed and f Stop. And I will dial and say, Ah, 40th of a second. And let's say, because this is a 1. lens, let's say for the heck of it, let's make this thing, uh, 2.2. Let's make a 2.2. Okay, Now I'm gonna close this curtain a little bit to kill the light that normally would be present. That is present. And then we'll kill this. Well, just maybe leave. Okay? So if you look at her right now, we're almost assuming this could be, as a matter of fact, is there a way to close this all the way? You know, about this way? Oh, I like it a lot. So come out a little bit and move that way. Just a hair right there. Too much, Little bit. This way. A little more. Yeah, right there. So let's just say this is the church and she's on the altar. Right? So now what I have dialed in is 2.2 at 1/40 of a second. The last thing I'm gonna dialing is I s O So when I look at her, what it's picking up is the available light in the background. And it's that's now saying, G's Joe, you're almost two stops over because you had 1000 I e isso. So I'm gonna dial this in until it's one stop under. So bear with me. Ah, there. And we're at 1/40. Um, that's about one stop under. I might go just a tad more on. This is so so right now with this light that's in here, let me a little more. And that's the key, right? You have to dial this thing in so 50th making 40th. There it is right there. So I will bounce my light offer there to try and give her that little lighting that I was asking to do. Ok, now I need to tether myself. If you don't mind. I want you all to see this. Where is the tether do we have this problem? If there's just one, I have it. I don't know if there's more than one. No, no, it's OK. I just want you to see what this looks like. Okay, First, I'm going to show you and I know they have this loop. I'm just gonna be very careful with it. Let's just assume the role that everybody usually takes. Let's say 1/60 of a second for Flash Direct. Right? And let's say F or something. What do you guys think? So 6.3. Let's say that. So there's my flash boom Straight on. Wait till you see this. Okay. Now, to my technique of going to that 40th of a second and 2.2 and I'll just check again and I'm gonna bounce off for use it if you could move that I love you already. See? Okay, so that's pretty good. Okay, the difference when you see this is insane. Okay, now I get very excited. Sorry. I don't know if you want to look at this, but can you see that racket in? You can cannot. Yeah, that is flash Direct. This is flash, bounce, kiss of light on the side on the side where I bounced. It is Ah, highlight. On the other side is shadow three dimensional dress not blown out. Background in background out. That's a huge changer. If you want to separate yourself, learn this technique. This is huge. Your images have a very natural feel. Come take a look. This is direct flash. What? Typically people do. That's bones. And if I blow you up, look at how beautiful that light is on your face. That is like natural light. But I used flash in this scenario, and if you saw you in there, you're completely dark. Okay, that's what we're gonna do tomorrow. It's well, OK. I just wanted to show you that, cause I know people are thinking What is he talking about? Bouncing the light there? I'm asking 2.2 of light to come back, hit that wall, make it a window lighter from the side. That's all I'm doing. Keep the integrity of the background life, make it one stop underneath that and just add a little fill flash to it instead of from the front and completely blowing that out. The backgrounds completely black. And she's completely lit. There's a shadow on the wall of her. It is. Okay, so I'd rather see that versus that. And that's what we do. So usually my hands like this. I will move this thing if I'm here, I'm doing the same thing. By firing like this, I've learned to use this camera just like this. Where I need to fire. There was a question. What do you do? You being white, my assistant. I point sideways, and I fired the same way off of her. And typically, it will be whore vertical because she's walking down the aisle so that flashes pointing pretty much right here and filling from the side. Got it. We're not gonna open that up. Your turn. I don't for you don't cry. Okay? Did you say no? We're gonna do a little light stuff. I want her to see it. All right. Okay, So you're here, and now cameras over there. You can go back. There, is You're gonna be over here. Okay. Okay. So do you see that? If you're looking at her that this isn't shadow great, right? That's in shadow. That's that's when I like. All right, so let's just say, I'm your assistant and I will be right now, Okay? And you're saying But I'd rather half softer light, right? Do you like that? Well, yeah, that's better. Well, it's got more dimension to it with without right, Right, Exactly. But let's say but softer. Yeah, yeah, so flat lighting. You know, that's what they use for fashion models. They use a lot of flat lighting. So for a beautiful portrait, that's very flattering. It's flat lighting anyway, So the idea is, look the P mode and overriding it. If if you want something other than what the camera can capture naturally, in this scenario, there's not a whole lot that P is gonna mess up. The mess up comes from when you're pointing this way and she's facing you and the PC's all that light and goes, Oh my God, that's too bright and goes under right It completely dials down for the light that's there to give you correct exposure based on the light behind her. What that does and make her face black. There's nothing there, no detail. That's when you override and go. You know what right about right here This corner of light this carpet will give me an average meter reading. Now I want spot all the way in the dark. Sometimes if you know, like as the sun is starting to go down, there's gonna be less glaring light from that window. And the difference isn't going to be asked much it needs to be. There's not enough difference in life between what's falling on her face and here, where before, when it was really bright, while all you need it was a small adjustment that would have been too much. It would be a halo around her. It would have been so bright, right? So now you're making ah, more of an adjustment because there's less like toe work with. And I know this all sounds foreign to everybody. Once you see this thing in practice and you actually do it, it's it's brilliant. Okay, so it's one of these things that you gotta literally take your camera and practice. Do it at home with the kids, the dog, whoever you got your wife or girlfriend practices scenario where this is great and by the way, if you see her profile and she's standing in the window, this is awesome. If I shot, I would have shot two straight on DPI mode straight on like that because what I would have is rim lighting that P would have picked up. It would have given me a little detail here. It would have kept this in the light that is there now, without having to adjust for the difference is from here because I see a profile. The nose is there, the lips, the chin. And if she's looking down and fixing something, someone is working on her thing from behind. He or she is also in profile. It's beautiful, but the minute this happens, it ain't gonna happen, right? Not in p mode. So this now becomes P mode locket somewhere. Come back up and again. The reason I say p mode and lock it somewhere is simply if you need Toe Override because you know the camera isn't going to get this and no toe overexposed for her so that we see the detail in her face by blowing that out in the background. The camera and P mode won't do that. Now you're in manual. This is why people should manual because they can control it. And I understand that I totally understand it. I've just figured out a way to control it using P so that I'm hands off. I don't I don't have to think about dialing in anything else After that. Yeah, over the break, I asked Joe, How do you know where to spot meter over the During the break, I asked you, How do you know where to spot meter? And he said, Practice, you just have to know the light and eventually you'll just know exactly where to spot meter so that your exposures dead on when you need override. And the thing is, is that even if you're off a little bit, it's better being off one stop or 1/2 a stop as you're practicing, because that's easy to dial in and post production than four or five stops. I mean, that's a lot of work. And then things start to get grainy because it gets pixelated and noise starts happening. So all you trying to do this will never be perfect. I'm never gonna be perfect dead on 18% gray in my average metering or spot by what I select. But I'm gonna get really close within 1/2 a stop because I've been doing it a while now and 1/2. A stop adjustment is nothing. Okay, that's a quick little tweak. But again, it allows me Freedom toe let go and shoot anywhere else. I need to. And then also, if I'm back here, I picked boom back lock shoot. It's really fast for me instead of changing a dial that I have to change back rather than let go of, ah button because I'm gonna forget in the moments I'm not gonna be thinking. OK, so you're dialed in again. Yeah, you're not busy. I say, let's say you wanna blow that out a little bit because you want more exposure on a face in this scenario and you're in p mode point at the carpet pretty much the grey area down here. Avoid this little bit of light here altogether, but grabbed this right here and locked a meter from the back. Not the front, but just the back. And you don't even have to keep your finger on the front. So all you gotta do is you just turn it on by pressing half and then let go. And now lock the meter. Now come back up now Focus on her and fire. Now, take a look. Do you understand that? You just overrode you was an override on the program mode, right? And you added more light to face, if that's what you wanted. So and in essence, now, I'm gonna ask you to do this, face me and in the light. Yeah, right about there. You're coming on this site shooting P mode straight portrait of her and incorporate the back window wall as much as you can. So back up. If you have to say that you have but go vertical verticals. Fine. But include all that life behind. Okay? And this is just straight p take a look at it, all right? She's a little dark, right? I mean, it's not bad. P tried to figure it out, but it's not bad, but it's dark now. Lock in down here, right in front of her. Keep a little bit of this light. And this area right here in la que meter with the back button. Come back up and fire. Now, let's see. All right. Do I keep? Yeah, you have to keep You have to keep your finger on the button. So go down here. Locked the meter, go all the way into the dark carpet Because the light's not as bad now as it was earlier. Lock the meter. Come back up. Keep your finger on it and fire on the front. You can focus. Now, let's see. Hello. You see how that works? Okay, That was just with the little button, right? So now, if also Dad walked in while you were doing this. Now you would know after a while without having to look right just to keep that button pressed and keep shooting, you can walk around her and shoot, cause you're still gonna have the same kind of light on her now that you have dialed in like having em. Okay, You're like an imode having that button press. That's where you're at. OK, you're in. Okay, but you're actually in P. So now that door opens, right? You know, look at the difference in life between that and what's There you go. Oh, my God. You let go of the button and now you're in p mode. Okay? It's gonna read exactly what's there. It's the same light in this corner. It's dark but it's the same. Like the P doesn't need to compensate for anything, cause it's even lighting, so it's gonna nail it. Okay, Now, if you were a m, you couldn't do that unless you were really fast on dialing in your F stop shutter speeds. But it takes for me that split second difference in being able to just let go of a button or dialing something in is a world of difference in expressions. It is absolutely the moment between moments. Yeah. Yep. So that's what I do. So you you might wanna practice. So what I want to suggest for you to do right now is so that was spot meeting what you just did. If you want to do an average metering, take a slice of this. I'm looking at it now and I'm looking at the value of life that's on her face. And I'm saying, Okay, we did spot, which was in here. Average is gonna be a sliver of this light and the majority of that Great. So I want you to take a look, keeping in mind in the viewfinder, adding this little sliver of light just a sliver, though not a whole lot locked a meter and come back up and shoot. Now, let's see. That's really dark. So? So, Yeah. You got a K on the dark side? Yeah. No, no, no. You have in your viewfinder in the viewfinder. All you should see is this corner of light and the rest should be right here, right in front of me. Just the corner of life. Hello? That's not as bright, is it? That's average metering. So that's average monitoring what you had before. That's program that spot. Do you a difference? Yeah, right. Yeah. Do you understand that? The idea? That's average. And But look how beautiful. The lightest right on both sides of her cheek. Now it's a little dark still, But if you dial it in before that one after that's program no way will that work. I'm not gonna attempted in photo shop. I could care less. And I'm not gonna You know that spot Notice what happened to the background. Blow it out. The program p won't do that for you because it's going to evaluate the entire scene within the viewfinder and make adjustments accordingly. To be average sort of speak right. It's gonna look at the highlights is brilliant. That's the chip that's in there. It's going to say Maybe that's too bright will bring it down a little bit. But if you notice in P mode itself, it is a perfect sposa for outside, right? That's not what we're after. That's why most people will use spot, put the spot on her face, change the meter setting, spot her face and then shoot it. But they're in em right there controlling the shutter speed. An f stop. You can do it too. And that was average. And that spot got it, huh? Cole And three specifying that this should be pretty sharp. Your 3.5, just 1.4 lens. Yeah, they're beautiful lenses now is 1.8. Okay, so, yeah, that's the 85. Okay, So if you don't want to spend a lot of money, the 1.2 lenses aren't cheap. A 1.4 for a few 100 bucks is brilliant. If that's where you want to start, that's what I would suggest. First is to get a lens that isn't quite as expensive, because for the 1.2 glass, you gonna spend a couple of grand $1,502,000 somewhere in there. Ah, and maybe 700 is enough. And I believe that 1.4 there around 700 bucks or so. OK, And the one point eight or even less than that. Um, But you're able to shoot with the 18 and a 14 at 2.53 point two just fine. And they're going to be sharp. They're gonna be sharp. They're not bad. They're not bad. I just like a much glasses possible, which allows for a much light in as possible. So when the scenario is the reception where there's only candlelight, I want as much light. And I need a big lens for that. I need a 1.2 lens for that. Okay, that's pretty much Why use third? They're brilliant lenses. Um, what else you want to do? You want to do some more? Would you like to use? You know what? The flashes for tomorrow. But I believe I also have one other student out there. If I'm not mistaken. But you have this. You wanna practice this a little bit? Are you okay? You're good. Okay. So go ahead. on plug and we'll ask, uh, the other student to come in real fast. Let me go do that while you guys hang for second. How you doing? Okay. Did you have any questions about this right now, or was this expert self explanatory, I hope. Pretty good. All right, you know? Yeah. And the thing is, the thing, it again, I can't emphasize this enough. If anybody could do this, all of you can do this. It's just practice. You just have to practice. It is this is not really brain science at all. It is just so easy. The gear is that good today. I don't care what you're using. Nikon Canon doesn't matter to me. It is that good that you can get away with doing the techniques I'm showing you. You have to understand that. Why? This is average meeting. Why? This is spot metering and why program will fail in this scenario. And under exposing her, you have to understand that. And in essence, how you understand That's by shooting manual and controlling the light and the exposures. Okay. Or aperture, Priority, shutter, priority. Whatever it is that you want to do. All right, Planet of the time where you pee eso at a wedding. Typically, P mode for me is about 80 90%. And then manual is the other 10 or 20. Yeah, it feels when you're using manuals when I'm using Flash and I'm in the reception area with my flash on. If I have my friends, the light on with long lens it's still in p mode, even in a dark situation, cause I'm adding light now that's variable. And I can control how much flight and putting out there. So that's still P mode. But flash on camera, them walking down the church and I'm needing the bounds. That's all him, that's all. Manu. I want to control all of it at that point. Jump. You perfect. All right. So I guess we can, Actually, since you have flash on camera, maybe this is the technique will do with you in this doorway that that I just tried to show you want to do that? Or do you want available light stuff using locking P? What do you do? I'm I'm Emmanuel Shooter, your manual shooter. I so have to try and convert her. I know. I makes me nervous if I don't shoot manual anything else? Because it's just the way my brain works now for a wedding. So I know what I need to shoot when and light. So for me in P mode Scary, but yeah. So that's what we're gonna do. What are you thinking? You can Okay, so, P mode. Okay. And you're on matrix or evaluative metering. Guess. Yes, you are. Okay, so check it out without flash on. Right? Right. Actually, take off. They are. Thank you. Grab a shot of her straight in the window and go vertical on me. I want the whole window in it and see what he does for you. Because I know this is gonna freak you out as an M shooter, So Okay, so this is just step one. When I if I'm focused on her, I, um Do I even look at the meter because I'm so used to looking at the meter with getting the exposure Get on. This is You won't have to think once you got this in, but because you're a m shooter, you have an idea of light and you have an idea where you major is gonna fall and you're used to looking at the meter. That's one less thing for you to have to look at once your existing dialed in. And that's why I'm saying that takes my attention away. I know it splits up, but every second helps me in nailing these moments of Go ahead, just grab a shot in people because it's gonna fail you right now. So do you consider I do you control the your aperture at all, or D not. Right. Okay. I just want you to show up here, okay? I should be really ugly. Yes, exactly. Not that. Wow, It's actually a favorite, but it's in p mode, right? Yes, it is. Okay, so watch now. So see how dark that was. Okay. Now, if you were to point down and say, look through the viewfinder, okay? And just take in this area, right? And lock that back button. Is it Gap? Back button? Not not that one. The 2nd 1 over that one is the back. That's the U lock. That's it. You locked at the back of and leave your finger on. Do I hold it always. Okay. What? I can move. You've already lost it. You can't let go. Okay, You get used to it. I know that your name a shooter. Is it difficult for you? Now, take a look at it. So with practice, what you conduce you is eventually dial in exactly the lighting scenario you want given p. Like if you were using him eventually with practice is gonna take a little bit. You might say. You know what? Give me a slice of this right now in all this carpet. I want not as much overexposure on her skin, right? And then you'll know. Okay, that's average meeting. This was spot metering. There's a way to override it. So the reason and the only reason because m is brilliant. Don't get me wrong because once you're dialed in em here, you can shoot all day long. But my suggestion is, even if you have this completely done this way and let's say the lighting scenarios such that we had earlier light, that was really bright, right? And Dad walks in over there, and there's a five stop difference. And you're not fast enough to die with five stops really quickly one way or the other, letting go of a little button and firing is so fast because you're always continuously holding on until I let go until you like, and then I select something else. So I see myself when I go, Yeah, meter shoot meter, she or or meter, shoot, shoot, shoot, shoot things in letting go boom meter shoot, shoot! I changed and I went. And now it's become second, saying you know what to meet her with in accordance to which light is coming in or where you need to be. I'm doing a scene selection based on the light that I see in that little scene as toe average metering, right spot metering. Given the light that's coming through that window right now. So while I look at this, I go. You know what, right here. Right now on her face is average. This now will be spot. Okay, sometimes I have a 72 200. I zoom in on a dark area. If the dark area needs to be spot lock in, zoom back out and unfocused fire. You getting a thing is hard for an M shooter. I know, I know. I love shooting an end because you can control everything. I'm just saying if I had my bride alone. Okay. If my bride was all alone in here and the instructions were no one comes in the room, I'd be in them. Do you understand? I'd be an M because I can keep the same value Consistent, right? And so that later, in post, I really don't have to tweak anything. All the images gonna look the same because I've controlled it. That said, I'm usually in a photo journalistic mode where things happen. There is no rule door stays closed. I don't hear that from the bride. So also, Dad just walks in, honey. Okay, I have to be ready for that. And I can't be an M, that's all. So because you're mean, you're primary shooter is focused in shooting, Say, the formals of the day. He she is always an embassy that he's doing. He's got that one thing. He doesn't worry about any moments that are happening. I've got to cover a little bit of that. But mostly I've got to cover the moments that unfold in front of me, and I need to be No, I like how you were front on just just Yeah. Just one day that's dark. So I spot a meter. So not down below. And I do the same thing and me to write about right there. Lock it. Come back up and shoot. Now what? Now it's over exposed. So the value that you have to look at that you're trying to get I like it. No, it's just not right. So what I said earlier, by the way, if I'm 1/2 a stop to stop off easier fix in 45 stops because the minute you have to try and fix that, it starts, you know, disintegrating on. So I don't want pixelated images that I want noise. I try to avoid that. So a tweak of the half, I'm not gonna be accurate doing this. And I'm like I said, I'm still practicing it, but this gives you feel you went right here for a spot that was spot on a little more. Probably that's that's actually pretty darn close to spot. But maybe it's here. Right? So if you point now and have a sliver of this light in the view from just a sliver and mostly here, I guarantee you you're closer to the exposure that you're looking for him. I'm gathering. I know what you want to do. Three tell and now shoot the same thing. Kids hit me. Good. That's a bit better. I don't She kind of liked that one a bit better for me. I'm question you said, um, you like less noise and you shoot, um, with, uh, s raw. You don't use small rock. Do you find that in low light situations, your noise level is increasing, especially for a reception with just a 10 megapixel photo opposed to say you're 21 megapixel. There's a difference between the two, for sure, But for me, post processing 4000 images 21 Meg's is not. It's just so much working. So much storage. And frankly speaking, most of my clients here's something about high end clients. What do you think is the largest print the high end client will buy for me? Your shoulders? Look, do you show them I showed up 11 by 14 matter to 16. 20. It's an 11 by 14. That's the largest print. Rarely do they buy a mural size print. Now, back in the day when I was shooting, not the high end client, but the same middle of the market, right? They afforded 3 $4000 to do a wedding. They wanted 30 by forties on the wall. Interesting, isn't it? Because what do you think a high end Klein puts on their wall art. Thank you. Art. Riel Art. Okay, where's my by 14 or eight by 10. Go on the piano. On the piano. It's with the family shots. Okay, maybe in the hallway. That 11 by 14 minute to 16. 20. Beautiful. Okay, but most of their home is covered in original art Picassos. Whatever it might be, that's what they put on the wall. When I was in the middle market, it was their mural of them, you know, with everybody jumping with Scott the dog, right? That's what they want. And rightly so. I mean, that's this is what they want. They can have it. Absolutely. I just found as my market changed, the mentality about photography changed. It was, as I got higher up in in the industry in terms of high end clients, it was more about moments imposing where before it was more about posing the moments right before it was more about do me beautiful. I wanted to look like I'm stepping out of Cosmo. Please Photoshopped the heck out of me liquefying me a little high end. Don't touch it. This is who I am. Don't don't touch it. Don't you, dear? Remove those wrinkles. I get that soften and maybe don't remove him. Don't change my eyes Don't over sharpened Don't over make it blue This is high end, Smaller images air better Don't give me large It's chew up on a page and a graph e book one up on a page and a graphic book. Middle of the market. 16 on a side. OK, it's a different not right or wrong has nothing to do with right and wrong. It is the way the market is and that's been my experience where I am. That's how I've seen the change in market. So I appreciate your approach into photography because it is about the moments and capturing the day as it goes. Um, I do tend to pose a lot of my formals. I'm typically shooting myself. Um, sometimes I have a second shooter. Sometimes I don't, um, but are there any moments throughout the day where you do pose a bride getting ready and you have their actions. Look, there's times when that ride is getting ready right here in this kind of lighting. And I say Really nice. Honey, come here. Do me a favor. Could you please get ready right here? So I adjust that now no longer is P. J. And even though I'm capturing moment the minute I moved her because for my eye and my sensibility, this is better. Like I'm gonna do it because it's not about nailing a beautiful moment when the lights sucks that that's usually what I do is I move my bride to the window. She's putting on her hearing months, doing her neck twice in that kind of thing. The other thing that I do, let's say there's a light over there. But she's turned this way. Okay, so instead of directing, I move. Hey, Christina, whom right? Same thing. When I said that, I stepped up on a chair and had her look up. I move. I make her move to me when I look at the where the lights coming from and I say, Hey, honey, how are you? Click. I moved this way cause That's my light source. Right? Or I could sp shooting all day right here. But then, Director, can you turn this way? I move, I move and then I get her attention. Can we do one where she's sitting on the ledge rather like you? Whatever you want. So just so I can understand this p mode, um, I want I want to eliminate her face. So I love how she's sitting like that. I'm probably gonna shoot it vertical. But so would I choose, say, a corner like here. Like where there's more light. So notice that the sun just came out right You meet is now gonna be even more fooled, right? So you don't want to go to extreme. That's dark, right? Right. So now you have to take into consideration adding some light into your scene selection. This is why I m people are good at this. They evaluate light immediately. That just got way heck, brighter. So in p mode, that mode is going to be even more fooled. And it was before when the light was a little more flat. Not so much son, You also getting a reflection off her white dress which is gonna fool that meter as well. So right now in P mode, she's gonna be dark. Having said that, there's a hairline on her. There's light on either site. This may not be bad in P, so you may only have to adjust it a little. And what I would say is I would lock in somewhere in here on have a bit of the lights. 1/3 of your viewfinder should have light into third shipment. And by locking, you mean not focusing. You never touch this. So what you want todo What you want to do initially is turned this on by pressing halfway that turns the meter on. Now look and then lock where you wanted to lock and then come back up. And now you can fire with your front finger where we have dark. Ok, right. So now you would make an adjustment based on that, right? So the thing is that this is this is a uh yeah, just getting it. I know. I know what you say. So the thing is, and again remember why I'm doing it? Why am I doing this? Catch the moment, right? The moments that may inadvertently happen Boom. Right there, Right behind me. I let go. Shoot. Otherwise I would be in him if I had just the bride alone. And this is a session, man. I'm in manual. I don't even mess around with it. So there's times where let's say she's getting dressed. And I guarantee you, this happens a lot where we're doing that from the basics. Putting on the you know, she has our underwear on. Ah, but maybe she doesn't have her, Braun, because part of the dresses, the bra. So she's semi nude. No one's gonna walk into that room. Okay, So what? She and I and I will shoot this thing and I will have a dialed in em where I wanted because I don't have to change it. What I'm trying to tell you is that what you want to do right now is practice it until you know where your light sources us and how you're seeing this. That's right. Right. So And that's why I said this is a function of practice. This is a function of just you know what your sensibility is about light. Sometimes blown out, people like blown out. Sometimes they don't so there's a middle ground somewhere. So this is you're not gonna get it on the first day you're not gonna get after three months. I'm still working on It's been to three years, and I'm still working this thing out. I love that. I mean, you're I think you're absolutely right when you are shooting manual and there's a scene and, you know, little donning comes running in to be able to do that so quickly. And I mean, I think I'm getting better, but you're right. Like it's so quick. Very quick passes. No, this was just my primary shooter in here and using him. He styled this in. It's taken him a while, right? Because right now you're going to am I? Dial it in, OK, and I'm gonna show you something. So go ahead and shoot and figure out where you're at. Okay? She's dialing it in, trying to figure it out. She gets the shot, she's gonna have to look at it, see if she likes it. They're trying to work it. I get that. She looks at it now. Some stuff is happening. The bridesmaids come in, you're dialing this thing in. So this is all good. But what if all of sudden there was this? Oh, my God. Moment. But you're still dialing in them. Yeah, you're right. And this time, and that's it. So my guy, he could be dialing this in. I might be working around him, and I've already locked in somewhere, and I'm trying to catch these moments. And it was nice. It was okay. Just like, um, garden. Just look down to the floor. Just like that. Perfect. Just like her hair. Looks like it. Just do a couple. You can do whatever you want. Yes. Please. God. And just kind of bring your shoulder up to towards your chin. Just the chat and still, like, I'm good, Good. And just hold that pose. And I just looked straight at me. Good. Thank you. No. What if she were sitting this way? See, I love that one. Yep. Yeah, no again. You know, that's just but with practice, this is an easy thing to do in p mode and locking this thing in because once you have figure this out after a couple of years of doing this, you figured out exactly where you need to look for the light that you want because you know the quality of light that you're actually capturing and locking in for meeting purposes. It is easy. You can walk around, you can shoot this way. Like I said, Boom. Now I want to shoot that with that same M mode that you have that's gonna be under exposed. It's done with me and let go the button. And while she's looking and maybe there's a teeter rolling down her face right now she's looking how beautiful the bride is. And it's her best friend and she's smiling and she got a tear in. I need to nail that and I don't wanna be off by four or five stops. I just don't. And for me in the style that I shoot, it is simpler to name. Yes, that's interesting. I'm telling you, it's, um so if I chose a really hot spot, yeah, are bright bright spot. You're You're not doing any different than what you're seeing here straight up. More that that No, no, no, no, no. Because if, like, it's too much of a change. In other words, if this is really bright right and it's saying F 16 and you go here, it's saying 2.8, you're gonna blow out, right, it'll blow you out. So you want to find the middle ground, and you've got to find out Exactly what do you think? Say F 5.6 is or f eight that that that would be kind of my guess. Right now, half in half, because the and again you want it. Yeah, because this is so extreme. Is back. Lighting is so extreme. It's hot, it's really cost. And this will be a much better. So and I for me, I like my taste tends to be hanging more towards natural looking light. Um, that's a 18 That was right over there. Yeah, but then this lining scenarios different. Correct? Yes. Okay, Very interesting. So that's pretty much. And then tomorrow in the church setting will do it again. And then we'll use flash and balance and I'll show you that. But it's interesting to do this in a you know what? And tomorrow, everyone, I am really, like fortunate right now that my then you tend to be pretty nice. I really don't have to do a whole lot to these venues they're lit. Well, they're beautiful. They have amazing flowers there in amazing places. And when I first started, like most of you, I was in dark little holes of shooting spaces called churches way back when. And I think that's what we want to create. I want not so much toe set it up so that you could see what Joe shoots, because it really doesn't matter. Joe shoots. It's I want to help you see in the areas that you're shooting and now and how you can overcome some of these things. So we're gonna have tomorrow. Setting will be a bit on the dark side, Um, with maybe a couple of lights up hanging in the ceiling like chandeliers in a church on. Then we're gonna add light, and I'll show you how I do that. You have to add light. Well, I add lied by virtue of like if you were in a church or, you know, tight quarters for a ceremony. That's why you have that light on their his price shooting program. Like you have to have the chair of the churches in manual. Oh, you do? Yeah. Churches in manual. I'm bouncing my flash in a way, we're trying to figure reception. First dance on the long lens is my frenzy light available light of chemo right At 30. 200. 4000. I s O. Then my other camera 24 70 usually has my flash on it that I turned at a 45 and I bounce everywhere I can, okay?

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.