Image Review

 

Wedding Photography

 

Lesson Info

Image Review

You know like with only the last couple of days and he really ever touched the surface of what it is to be a professional photographer and to be honest just what I do is a photographer you know like out there you know, I'm under a lot of pressure teo you know being like tethered to a cable and you know, like trying to teach at the same time I'm photographing and getting real moments and I've absolutely just love the experience you know it's been so fantastic you know and it's so much more I would love to show you so maybe like, you know, if creative lives interested you know I can come back sometime because you know, like there's so much imposing you know, a lot of you know, the last couple days have been talking very much about a photo generalistic style and more of a creative editorial but like I said there's classical portrait there's so many other stars that I would come love to come back and teach someday you know, we've we've equipment you know, like I am blessed that after ten y...

ears I'd be number two you know, I'm going to get some really great equipment together and because of what my clients are paying may like I need to be using the very best and like I've said teoh you know you guys as well is that you know, you just build that over time but you know, like I'm shooting in higher sos in fact we haven't really even had to shoot into higher I remember I used to shoot with a d thirty so if I had like a camera like you know, that didn't have that capability I would just be using slowest shot of spades I would be using different camera techniques that I would deliver so don't let anything hold you back but you know one thing I would say if you could you know, just get that a little bit extra to get a camera that can handle high so do it because you can see the shots that I'm going to get a swell you know? And I'm going to go through some of the images that we shot over the last couple I just took just a couple out and you know, sometimes they're not perfect in camera and sometimes they are and on a mission like this a huge debate like you know things you know should be perfect but you know, look at the pressures on a wedding day you know, for me I want to really hone in on the couple in the moment remember number one for me is to get that emotion you know, get that feeling you know, I mean, otherwise you could have the most perfect image you might be the best technical photographer, but what is that going to me if there's not unlined mint there if the couple doesn't connect with and this is one of the things that you know I want to tell you is that, you know, I would love to show a client everything perfectly technically, but you know what? They wouldn't choose those things they wouldn't connect to it, you know? I mean, so it is a balance, you know? I mean and just for you know, we have to go both ways some people that are very technical you need to learn being how to be technical some people that are very technical endured grating camera well, you guys need to really, like, loosen up a little bit and just like, you know, you look at that moment, you know, look at that moment because that's what's going to count and it's what I'm here is just to give you my experience and a little bit about what I do, and I'm certainly not perfect, you know, my wife definitely knows that, you know, you know, and so the idea is just to be the best that we can for our clients and that's one of the messages that I said on that very first day is that, you know, who was shooting for I was shooting for other photographers oh, I was shooting for our client that's what's kind so let's we'll just have a couple quick look att you know I mean I wish we could spend a whole day just going through these images to analyze them but you know I'm just gonna bring up this one very quickly I just love that expression remember this is really good eyes eyes you know, no main like maybe like I think like you know, maybe I just had a little bit more here whatever you know what doesn't matter you know mean in post production I would probably just dark and you know, he's head just a little bit it would look even beautiful the calorie amy's or a black and white he means but that emotion in at are those eyes are just so real you know I mean on process remember you know these aunt models these are real people that we've photographed over the last couple days you don't mean a couple that a very much in love you know and uh and we've been looking at a very further journalistic approach to the way we've captured this is like a very second shot after that and I just like that and like just the way it's coming down in the movement and you know what if I used like a you know slowest shutter speed and I had the dad's movement in his hand I think would even be really nice you know, a nice employment but you know it's like like I don't know if you guys saw it like visually but it was like a split second and that's what would dealing with this huge pressures under wedding day you know and this isn't the next shot see how I got behind and look att the joy on her face you know, I mean that's what I love to you know, to capture a cz well um no you know, like posing you know, we haven't done a lot of posing but you know, I did a little bit opposing really quickly yesterday and I went through just trying different things, you know, balancing the lot as well and I just love those lines coming down you know, to make a really strong you know, portrait um so you know what we've been talking about light all the time you know, this is art she was just standing there, you know, it's just beautiful you know what I would probably just do is like, you know, just take that out um, you know, that highlight but I didn't want to lose around you don't mean so there's choices, you know? And if we take a long then you're going to lose that expression, we're going to lose that soul, you know, I mean that's the that's the thing is that remember the eyes of the gateway to the soul you take too long, you lose it, you know? I mean so that's why it's always a complete balancing act that we have as photographers and the more skilled we are, you know, is great because then we can make choices and you know, it's so it's all about that did I say, you know, again? All right, now this is serious. I just absolutely loved this was really this is if I remember rightly we had cut we had said, you know, don't you know we're finished, I think, but it all happened after that they just started laughing that's when it's tearing, you know, again, it was real and these are the moments and patiently looking for and this is that's and that's a key word patients don't russia don't think it's not going to happen and be patient and it will and sometimes when it's not happening on willing it to happen, you know, we go, come on, you can do that, do it just happened and then and then it happens. Um, family portrait, you know, quite like, you know, the balance, the lighting, the chairs you know, the main and looking at like I said, I would probably have him down there, but I like it like that you know, we could have, like, spent a little bit more time refining and everything like that, but time is of the essence the longer you take you lose interest in the people once you've lost interest in the people then it becomes a nothing shot no matter how amazing the composition the posing is so it's a balancing act all the time? Um oh yeah let's couple little detail shots you know, remember like I think these were the eighty five million I love shooting that eighty five mil, but I realize that not everyone can go out and afford the eighty five mill you know, like it's beautiful but anyway, so this is when they're coming in, you know? And then like getting in this just own actually happened and I just wanted around the table capturing those those moments and look at this, you know, like, well, you know that body language, that story she's clutching a heart, leaning over and the way they're looking in there's a story that it's a moment if I want to get technical and this is because I am a perfectionist people of the street e studio hated, you know, I got like, you know, we don't need some guy that's not right he kidding, you know, like and you know, I feel bad, but that's just me you know I mean I want things perfect so like I've got like it's not right it's not tilted right because of that so I just need to adjust that info to shop and just cropped that a little bit you know what it's not perfect in camera but did you guys see like the how quick all that wass you know I mean it's like hey you know but you should identify that it's not part of perfect I know that it's not perfect I know it's not perfect but the moment is and in iowa just it just to do that. All right, I love this this this israel you know, kinden I know that dad was um I was talking to the couple for a minute at lunch and how often ten years after you're married do you have the chance for your family to get up and tell you what they mean to us? So it was it was machen that way but they were sharing riel feelings and such looking at your images again like what I mean look at expressions on their faces so so need toe to see that you could bring this out and show us this and something that we put together for a workshop yeah, yeah may I just say excited that we're going to get a real couple and I mean I want to show you what I really actually tio and arrest what did what was the section that we didn't really get to show the images in was it this section I'm not sure what you meant where wasn't tethering oh yes it was later in this section so I said ok so some of you people at home will be seen these photos for the first time you know like look at that like look at you know the other father looking up the way they are you know it's like it's amazing I think that's what I think that's my favorite shot over the last three days you know and then immediately a laughter okay, so here we are today you know I mean and again it was just building you know I would have loved to have just two bean seamless so you could have just seen it because like I know people are could think and go are you know we could we had two three hours to do this I could have done everything we did within fifteen minutes everything because everything is just a floyd we would have just gone over here I would've been patient let them just dwelling in, you know, moving into it we would have been got them tow walk around that language so when you go down that way I would have ran across, you know, got them coming down there I would have gone up the ladder or you know, I climbed up a tree if I had to get that shot, you know, with the with the thing and then and then I said, you know what when you hang out for a minute um in a couple minutes I just woke up you know, up that driveway you know, I'm just going to go up there and I'll be out of you know, tell you anything from there if I need to and that's what I mean it you know, fifteen minutes we would've been done and the reason wise because I've done a ll the planning and preparation before I had a plane I was coming was relaxed most of the time you know and you know and just got their shots so this is remember like light was changing in and out all the time. Now I'm showing you these images these air strikes out of the camera now if I want to like, you know, like, change any of these images and I just used a preset you know, like I might say, you know, when something like that or I'm looking at the preview and then you know, just sort of broaden it up oh, if I want like, you know, like I sort of a vintage e sort of time might say, you know, I just put that in and it's instantly, you know, got a different feeling in the gym with with selecting the preset do you already have something in mind while you're taking the shot yeah I definitely like I'll be thinking like even black and white you know collar or or a tone like this where it's fresh and all that and with this fresh sort of look it's sort of more happens when you've got this sort of lighting happening you know and that's what I sort of love like so when you die like you know had that sort of lighting in some of the other presets work better and I just know that what happened you know so as faras like do you have a set of presets thatyou onley use for outdoor yeah yeah dok you know so I have presets which we're going to get into very shortly about the work flow that really the ones that I think suited for that wedding s o then I rename those presets um as my own express or maybe it might have another worthless folder and I just had it like another naming way and I'll show you explain that because then I'll bring in presets from other collections and say I'll bring that into my work flight I'll make sure that they're on hand but also when I'm sort of playing as such like with an image and it's a one off order that a client's ordering I'll go through you know quite a few other priests it's just the check and it's great reminder for me because I've got so many is that like I'll go I like that and you know sort of market tio bring it into my work flow maybe for the next wedding or two if it states you know I mean so that's why I'm always you know changing so my clients I'm getting everything the same you know um there is a signature style that we have and they always assuming that but it is also that little bit extra that we're providing and being different as well so let me just sort of quickly just go through these images very quickly I'll get out of the la brea tar back into the library so it's just sort of going through trying different things like balancing the light and this is where I was talking about like just getting him to go through and you know and probably just sort of hit it there and then I seemed in and then when if we seem dean on that is just like this beautiful moment between them tio let's so let's just do that it's just I didn't load I just quickly just loaded them now so um yeah so you can see like that great moment you know and if we want to we could see me in on that but what like I said I would have swept you know tell you maybe to the two hundred millimeter and guarding two there again just walking down the pathway that's what I you know it was great that comment that came through you know about the you know the journey because this is what happens you know um and again I would probably stopped lenses and I would have probably moved you know for me compositionally this is not perfect and everything but what a great moment is and then I can just sort of crop that out you know reuniting nice and tight hopefully people understand the the restraints I had today um but then I I really like this where I was thinking this I mean look at this beautiful van you know and these amazing people you don't but you can see why now I'm up on that ladder because then we can see that that line it gives a direction for people to walk into the frame as I was shooting this I was explaining okay you know make sure that you know that they're walking into the frame in this more space on the right this is it that flash like you know like I had to think on the on the fly you know like what was wrong with the pro photo was is that there was a sink cable in the wrong hole you know I mean on guy was living someone else do it see and that's why I let normally do it all my by myself and I don't have an assistant because then at least if it stuff sob it's my fault you don't I mean, um but you know what? I just had that that I have a flash this is like I wouldn't normally should it this way, but it was pretty good, so you've got a flash of time you just need a room might trigger you know, I use pocket wizards, but you know, if you just go toe remark trigger, then you can do that, you just got to get it off the camera as well again, just a nice moment. Now, this is where? Like I was thinking, and I want to explain it's a little bit is that with these shots when I'm taking them, I'm also thinking that it could be this, you know, so like just doing that and it's a much better composition and it's really strong on dh you've got these arrows and depending on the direction for me, the last shot and I didn't realize the, uh, the audio was working otherwise I would have charted more during that time, but having him walk through that and that way with the arrow was pointing to them it's giving direction you don't mean and what was really important about this line is that the curve comes around when we crop it, then we're going to come back that way and so it stays within the frame and so where that's where you know competition wise is that we're always thinking around and about so here like, you know, like I actually thought this shot will look a lot more amazing but it just but it's not it's like a it's a different angle but it's not as right as I thought it would be a um and then but I didn't mind that one no one's you know, nice I'm getting to walk out and then again just sort of going through any and and then like I like that and I like that cropping um you know and you could even probably keep the top half if you didn't have the vein in but like I said as I was shooting I said we just have to ignore the vein um let's go along a little bit, you know, saying that going through finding an open area like, oh shoot it like that a lot of my clients love that look they love the greediness, you know? I mean I'm not gonna process it that way this is completely un processed but then like, you know, like, this is the movement remember, but look how if I took away that yellow it's just really, really simple let's just actually put a preset on that and you know, it doesn't matter where it was shot now you know like so let's just have a quick squares so it now it doesn't matter where it's shot is just really simple you know we're taking away the collar of taking away the distraction of that color on dh now it's back here we could use also do a little bit of dodging and burning out obviously probably you know straighten up these lines using lens corrections and things like that um but it's a really nice shot like you know like where he's walking past and all that and you need to sometimes she affair beauty of that you know because to get the blow ride and get the movement in the legs um it has to be spot on a swell let's just um keep going yeah he's like another group shot um with a bonus cameramen um and a bean they one of the things that you know maybe I should have done before I showed it is that I should have probably removed that being you know, I mean I should have just got up and moved it um and then because even though it's a gritty area I still don't want to be me you know so it's making those decisions but see how like no one's really like you know there's a difference to the posing and the positioning I probably could have member because the sun came out I bought very forward if I had gary back over I think it would have been stronger composition um he were like you know like hearing this the dumpsters and things like that but you know, I'm thinking about the crop here you know I mean is like I'm thinking about that so um I just again like I love that mind and it was real you know and I like that you know, because I love I'll probably just sort of shave a little bit off here but I love how this just comes down you know I mean I'm looking for those angles and then getting them just to look at the camera looking at different compositions just using lines just using that spice you know it's like just different lining as well this is that lens you know that's actually really, really nice and then like in that sequence just sort of you know, getting to look back so I said, you know I look back and although this is the uh the eighty five mil look how beautiful that isthe soft but was still got those lines walking away said jenny no keeping mine okay like any means like this is that like, you know, we look might look at like, you know a priest said and what's going toe you know, bring that to life remember because like I can rely on my presets like I just know it's gonna like look right like you know in one click you know and so and this whole variety and I could do little tweaks to it if I wanted you know, black from white I know it's still going to look really nice and I'll just make a like a little adjustment as well so um I'll just quickly go back to the library so I just wanted to I just thought it was a great up you need to review these images why were so we could talk about them again? You're gonna even really love it or you're going to hate it you know I mean but what matters the mice is what the couple think remember but also to like some of this stuff like that a shot is that I make the client may not ever see it I was just working it you know? I mean and it really didn't take too long to do it I mean you've got to keep in mind as I was doing it I was talking a lot I was thinking about a lot of other things um but I'm still just sort of looking at different angles, you know, in these place sort of places every way you know, like I reckon like this in the american people that they would just even hate it or you know absolutely hate it only know love it probably gonna hate him and then you know what, they're gonna even hate it even more but I like it now that it's in black and white you know it is a ruinous to it guys are a roll man like we just like, you know, besides some of us are really softies at heart way and like, you know, we act like we're really tough guys when we're really not you know? But the thing is is that you know, like I just love the power off this image now you know, and I just think it's just really really strong now there was a difference I think if anyone remembers I said adam, do you mind closing your lips? You know? And you know what? Because I didn't want to say adam don't smile I just it did not look right him smiling, looking very happy I wanted him to look really strong, confident and powerful, you know and that's what I like all these objects do now the reason why I shot this is because certain times is that you have to shoot in situations like this you don't have those other lovely locations even if there was simple like those the shed's or you might not have liked the big grayness so that's why I wanted to show you this and and show you like how powerful a simple image can bay go back to like look att kati percents and um you know hundred cutter persona and elliott aero wood and things like that and look how these environmental portrait's that they did, you know, it was incredible. Now I'm not saying this is like an environmental portrait because, you know, it may not have anything to do with adam, you know, and adam is even gonna like it or not, like it and that's the thing, you know, it's, just important to note, but we're just trying we're just adding, you know, images in yeah, what I think is really interesting about your style is we were all watching as you were shooting, and I know they mentioned that people were asking these questions in the chat room, but there was obvious spots that all of us were thinking, oh, well, do there and there and there, and they're very traditional, but you found something unique and uninspected, which I think is really great, and it was a really good reminder to me toe look for the unexpected locations, the unexpected moment. S and not just oh, well, of course they want one in front of the building and of course don't want one here but to look for something different. Yeah, and that's, what I'm like thinking as well is that I want to like, if I was doing the same all the time, you know, like, um, I would get bored you know and I look around this room that we're in and these little tiny pockets where these incredible like you know, like like in this top corner up here I don't know if we can get a shot of that you know, the top left hand corner you know, and there's this little window up there on business light spilling in there and it's just beautiful it's just this gorgeous lie and I would just love to have someone up there and be photographed in them so let's go to it yeah all right, so then we you know what? Like I'm not giving the produce teo you know what I like and again you know, like because I I probably really did push some of that getting some of these shots on day really pushed to producer said this is what we're going to do this is what I've got a show so I got I really think you know, these guys, these camera guys, the technicians and everyone around they really gone out of their way tio make it happen, you know, like and, uh yeah it's been unreal so perfect guys all right? The safety shot as well, like, you know, maybe that I was shot right? The one before didn't work you don't I mean, I actually don't like that one as much as I do that one because of his stance look at the stance the body language from that one to that one you know I mean so but this is a safety shot I still get the safety shot you know it's so it's so it's really important already with the other shot the black and white one that you just showed what would you do anything with that pipe sticking does that fall no one like it does bother me that you know me and you would have seen me when I was shooting I was asking them move a little bit over and like that but it was what I had teo do that was I can't do anything that I could remove it I could definitely definitely you know removing you know if it was for an actual you know yeah you actually spend the time to let me have a look again let's have a look at this and I'm gonna be honest with you yeah, I would want to remove it I would definitely you know, removed that that element because what would happen is um it's just a merger that shouldn't be there you know? I mean, um and the problem was is when I if I moved him a little bit of favor over he wasn't going to be in the right position even so you know, but sometimes we're going to shoot under those you know, situations um unfortunately as well so it was sort of when you know, like trying to get that site he shot it was very important to do that as well and that's where I do work quickly um you know, I wish I could show you more sequences from real weddings where you know you'd think he'd be go wow, you really shot that liking in five minutes um, you know that's like, you know, I didn't think you could do that and again it comes back to, you know, planning, you know, working with a couple, getting them to understand, you know, before the day who you are, what you're going to do, I'm insightful, so, you know, it's it's, it's a great excitement what's another question you need that like, democra fine, um, how much time did you spend, um, preparing for different locations because we didn't actually see you prepare? How long did it take you to prepare and, like five minutes I've been really just, you know, going around, you know, you know, looking at the different options that were available thinking about them, but also the other thing that I couldn't predict is the is the weather in the sunshine, so a lot of the times, like, you know, with the locations, I'm looking at it from the day before probably in different lives probably in different weather but that's why I was so excited about when the sun was coming out and you know, that's what you guys want to know you want to like put me under the pump you don't I mean, how does he handle that? And you deal with it? You just sort of like, you know, like, think about you know, what we're going to do in this situation if it started sprinkling or raining, what we would have done is we would have a look at that loading dock. Yes, well, like I would've got wet, they would've stayed dry would be nice like coming in and it would have been really, really, really good, really good, you know, I'm recognize some questions out in the better we've got you well trained way no at this point, we have a question from charisma who asked how do you overcome objections from clients who may not see a gritty, grungy location as artistically as you are envisioning it? And then they say, thanks, marcus love your heart yeah, thank you so like, um, you know, like, if you go back to day one, we did talk about that way, you know, I was talking about a couple clients and, you know, one photograph the brother's wedding before and his friend was driving the bentley and he was wondering what we're doing in this location you know and uh and that client had confidence in me and said you agency you know now before I did that like people come into my studio c on the website they'll see like a grungy location and go well I love that now remember when I you know, getting feedback from the client leading up to the day is that I'm asking him to go to my website and my you know and even doing a pinterest board or you're just saving images into a folder so if they're not putting any of those grungy locations in there then I would I know that I shouldn't do that that all you got a great idea yeah terra de is saying on the photo with the wide shot that showed the whole building would you normally go in and straighten the building or leave it semi wart oh it's putting was that um the wide shot with with the landmark I think the front oh yeah like uh if it was from the front I didn't know if I have to go in straight in it um the one that I would straighten it is when we're going to see definite um parallel lines then that's when we need to really you know, so like in the back with the loading dock when they're on the edges yeah, those those you would straighten but not as worried about yeah that's right? Ok that's great great. I have a question from wedding photographer who asked about cropping and the question is when you crop are you thinking about asked aspect ratios for printing and I'm just wondering how how often do you crop images when you saw the picture of the couple with the arrows and you were saying you would really go in are you to do that like half the time and you know what this is? This is really good christian because like remember I'm not shooting for the wedding yeah I mean the notion really I'm not shooting for an album, you know? I mean, so I don't think that like I have tohave to five by seven sitting beside you know, I mean like I'm free shooting to get, like, really, really great like images first off so that's the most important thing to me so the other aspect is you know, what I'm trying to think about is like the post production is in a lot of times two is that I work with are really at the studio he's amazing, you know, she does a lot of my post production I'll do like, you know, some signature and we just for the blogger and everything like that but I entrust her and I've trained her exactly how I love my images and what's and that's one of the main reasons what she's become like an amazing photographer you know because she gets there to sit all die looking at her image is my images and adam's images and goes through that and it's just sort of going through on dh she makes decisions on the cropping and I actually give her that creative right to do so now if I sent like a nimitz tio magazine and all that I'm not going to allow them to crop you know and I think that's important tonight you know I mean and that's where like having a really really good team and because I was saying about like dying outsource you work because there's so much creativity so rather than and I can't do all of it because I can't you know do fifty two weddings and do everything else as well but having charlie and having someone in house that and sits beside me and says you know, what do you think you know yeah, we can change that you know I mean so it's always feedback and you know but it becomes an extension off who I am as well and that's what's great about having good people with you as well and I should mention you know, like I was saying the other day like a story about the priest and ah we've we've are really with you know she was asking what and priest like us and she didn't happen to her. We were just talking about how our photographers going through I think I might have offended us are are really I'm so sorry, you know, I did not mean to say that so anyway, arwa like his friendship that's great, I love it. All right, so what we're talking about the editing, pauline is wondering whether you you you would use the same preset or same general post production style for all of the photos in the same area for consistency. So like all of the areas in that alley, would you process them all the same way? Or would you do a variety? Yeah, I would do a variety, but I would keep, like, say, for two fifty four fifths off the wedding would be I'm not the waiting that that little section would go ahead and be all that same cyst in color or black and white, and then I might just take one other one and make it a different process, so when they're going through, if they actually like that alternative process that I've, you know, selected, then I can make the other ones that way as well, yeah, real quick um how what you turnaround time for the images to get him to the client um, I don't think anybody that two weeks, I'm curious listen, two weeks it's only time it for the honeymoon so like they go on honeymoon and we find out when they're on a honeymoon and then we'll prioritize that so sometimes it's actually four days, you know, um, you know, sometimes it's like, seven, eight days, you know, it's so important, you know, I would love it to be the same day you don't I mean, it would be would be wonderful as well. I've noticed a lot of your composition, uh, when dealing with the guys there's a lot of vertical is that, uh, is that say something about you? No, no, I'm not implying anything. What I was saying this is it has something to do with your life and power and strength. I don't know, like I don't know it could be a subconscious thing. You're right, I haven't I haven't looked at it and you probably have to show me like like like a sample, I think, for example, I india yet the vertical and then the squares and then the vertical lines on the building. I noticed a lot of vertical, a lot of vertical with you, I think just composition. I just think that suddenly, like I like certain, look over another and that's what makes me me and remember like you know that's what? Why we gotta all be different as well, you know, like I stay treated what I love in my own strengths um and don't try to be like someone else you know, like I definitely see stars come in and go wow, that looks really cool I like that, but I'm not going to go and do that style because it's not me, you know? I mean and I'm just going to so much self short if I don't do that and I think I find like that, you know, like I, uh I tried toe, you know, follow that philosophy all the time sometimes you know what? I get sidetracked, I get lost in my own bullshit, you know, and like, you know, like and stuff happens all the time, but you know what? I know when to get back on track, you know, remain like I pull myself back in and I get my head straight and just know exactly what I'm trying to do and what I wanted to, you know, and that's, what what's really important? You're gonna be honest to yourself because if you're not going to be honest to yourself, you're going to be honest, you know, and it's so, so important these days, I think I do a lot of things winning is much free passion and that's what I do my stuff um but like, it doesn't if someone came to me and say, look, I would love you to do this um you know, I honestly do it I'm going to show you something you know the stuff to me where you know, like I wasn't sure about doing you know, I mean and I thought I don't know if I should do it and something compelled me inside tio do that job and I'm just so glad I did you know, it made a huge impact on my life, you know, just doing that job, you know, other times like, you know, um I get a lot of work from my clients that are weddings, you know, and and I always say because they're coming to me for a reason they believe in me because I'm going to do something different for them as well, and this is on work flow, actually and if I mean, it doesn't matter if it's on or not, but I was curious I saw you were in light room. So do you initially call your items through? Oh you're images through light room first? No, in fact, I used some photo mechanic because the raw images it's nothing faster, you know as much as I love a diary, I think they're incredible you know I used for the mechanic to just go through you know that you know a thousand two thousand images to select the ones I want to show the client um and then I do do a backup you know I mean that could be a good thing that we haven't talked about it is back up so why don't we just do that very quickly um what we can do is um is um let me just jot this down so that's the way I got the cards and then I've got my digital download so I've got two copies on me and so what happens is once I get home is um and it doesn't matter how late it is if it's made no I don't want to look in the morning or eleven o'clock um I just plugging that personal hard drive that I've had on my belt and copy it over to um ah hard drive um and then once that's done I'll generally stay up listen to a couple of o'donnell records you know like uh a bit of po jim or you know something you know something seattle sound god and and uh and then like it might take you know like thirty, forty minutes or an hour or something like that um and then like I from that point I copied that to another hard drive so in my house like I have the computer than it has two hard drives now once they get full these these hard drives just get taken out and put away now one of the hard drives is that code downloads so they're the full cards now the other time is is that the other hard drive is just my selection so once have gone through for the mechanic I've just got the role selections at the clients are going to say um from there what happens is um you know like so that I may could get another hajji just a porta one and I'm gonna transfer that selection to the studio um and then that's what's gonna happen from there um really protective about the daughter the daughter is the most important critical thing and so this is why it's important topic to discuss if I get a chance you know uh oh type it allowed and you know put it including course um so what I'll do is like uh got two hard drives a time portable hard drive and that goes to this gee I where we have like another system and that's where the image is going to be processed okay um and then that also gets backed up two or three times after its process one a dvd copy so that's the first time my work it's copy to a dvd but more likely it's hard drives and because hard drives are perfect andi I could crash that's where we have on four five hard drives eventually you know um and it goes through different stages so it just sort of like a I know it sounds like a whole you know, big process but it's important on that what happens is like with the cards I do have extra carts s o I have like another pack you know these cards here um and you know as soon as um that wedding's done then I'll do another wedding and and so forth so I went for moat those cards but remember always I want to know that I'm going to reuse those karzai format them the day before as well on your gear list is that portable hard drive that you carry on there it's the brand and yeah yeah yeah yeah it's great there's another one um cord uh nexus I think or next oh, um that also what it does, it actually confirms that everything went from the card teo the hard drive when my one doesn't but I just got a little things that I know um what that what it should be and on the mac is easy because you can just press the spice by and you know what the contents should be on that card I just press spice and if it's how long do you keep the files? The images from a wedding do you forever wherever I just say forever like, you know, because I look at this as my personal work this stuff is just as important to me is the clients that you know I'm keeping it in foreign I'm shooting of for so this is my personal remember, you know, going back to the commission of photographers that like I said is that like I was talking about and if you haven't seen day one you guys need to go back today one and uh I mean not you guys you're here and you know what it is that, um it wasn't until I really found my passion as a photographer um that I was able teo you know, to do that I'm wondering how many are what is going to your mind do you think about I have to get the safe shots and then you move into more creative images do you do you have any thought process like that that's going on in your head when you're shooting? Yeah and also how do you define a safe shot? What are your safe shots that you go for? Yeah, like a a so surely is like like in that preparation list, I have a sheet list so they myself shots, you know? I mean so like I do know and then um and I've actually including myself shots in the book that I do because any books just is important for me is it the people out there you know that I'm remembering what I'm supposed to be doing you know, because things get busier you guys see and I think like, you know, like I listened to other people so, um learning about from photojournalists like I mentioned like cliff mountain er and greg gibson you know is that, you know, like they explained to me the importance of the safe shop from another industry and then I get it now I understand it um, you know, and then I can apply that to a wedding photography as well, because I think it's great to be creative and everything like that, but there's also sudden shots that you need to get on the day, I have a like a, uh another really great friend um jeff ask off in the uk amazing photographer like, incredible, you have to go check out his work now, the funny thing about that is that, you know, he would never tell people I don't think that he shoots family shots, you know? I mean, because he's a pure photojournalist and then he doesn't do any location work well, I've gone and showed a couple weddings with him, you know, any does he does the family photos because he knows how important they are, and he probably does about five minutes or less off like a location shoot so it's just like to get an important shot. So even though he's, a pure photojournalists, he still knows the importance off getting those shots, you know, and so don't like, think at hime that that's, not important, you know, because it is important, you know, like we can think, I want to do this star. You know, I like, I like, I want to be so creative and everything like that. But it's, you know, you're going toe rob someone often, opportunity, if you don't get that shot on a wedding. So it's important, that we do all the things, even if we don't like to do them, you know, I mean, we've got to do them.

Class Description

Learn wedding photography the Marcus Bell way! Marcus Bell is coming to creativeLIVE to teach how to prepare for the wedding, shoot emotional documentary images, and create the 'weddingscapes' that Marcus's clients love: a beautiful combination of wedding portrait and gorgeous landscape. Even if you're not shooting in majestic outdoor locations, he'll teach how to approach urban, boring, and common locations with fresh eyes, making the best of even the most mundane by finding the best light. Marcus will also teach what makes a good photograph and post-production techniques to create award-winning images and pictures that sell!

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