Location Shoot: Landscapes

 

Wedding Photography

 

Lesson Info

Location Shoot: Landscapes

So what we're thinking is location we're going to be talking about like the bride and green um just really what I'm going to be doing over you can see that was shooting outside so we're gonna have planes going overhead, so I'll just keep on going through already. So what we've got is just like like, I got my camera already I'm going again be using mainly the twenty four to seventy, but will be swapping lenses, you know, in the next session when we're doing more of an urban setting, so one of the things that I've also got is just a pocket was a just in case, I'm going to do some off camera lighting a cz well, now I probably only do that, you know, maybe one fifty one every five weddings, but if there if I need it's having these tools available to us, do you know just that we knowing that knowledge if we've got bad lighting or we want to do something a little bit more creative and a little different, we could do that, so I just want to just go back two yesterday and you know, when you ge...

t a chance, go back to you know what we talked about, what makes a great photo, and so this is a ll ties in with all the rest of the you know, the topics we've been talking about not only do we have to connect with the couple and the people and really feel what they're feeling and, you know, give a piece of us to them but we're going to be thinking about a cake composition you know, that emotion and impact in the image, the lighting and so forth in just so keep those in the back of your mind as you're shooting and were able to then build upon on dh creates something really great for our clients. The other thing is preparation, you know, is that I've come out, I've looked around this magnificent location and, you know, and sometimes we can come to a location like this and be a little bit overwhelmed, you know? We can sort of think about, you know, that is ah it's two grains or it, you know, it's on this team much visually, and sometimes you just got to break that down and, you know, and put it into smaller chunks about where you're gonna work, what you're going to do and think about where you're going to go and and give yourself options. So the more options that you've got, it means that you're going to stay, relax, you you're going to become and you're going to be able to think about, you know, exactly the next steps you're going to hit go to a cz well and I'll give you some tips on what you can do when you need like a little bit of a break and you need to be thinking about something as well so we'll make sure we do that ok, so let's um let's get started I want to just sort of show you the location that we've got um so we've got this beautiful landmark building behind us and what do we can be thinking about as I was saying yesterday about thinking with composition in layers so we can start thinking about where we want the couple to roughly bay and one of the things that you're going to see is that, um one of the things that you know like a chinese problem you know about the journey it's not always the destination that matters it's the journey along the way and that's what I think about you know, with my photography sometimes is you know is thinking about the couple on dh their journey and how we can get them to you know, progress you know through from one area to another and sometimes, you know it's photographers we think ok that's the time to chat to the couple, you know, you know it's not, um time sheet, but you know what? Sometimes that's the best moments that you capture on a wedding day because they relaxed they're really just going in step on going through and you'll see that happened today firsthand so some of some get straight into it we got an amazing couple and so we're going toe just jump on over through here you'll see me so go all over the place and the camera is going to try to keep up with me so I'm gonna say low takeem hello, how's it going? It was fantastic. It was amazing is amazing. So and second, all right. And adam morning. Very good. Excellent. It's so balmy today. You know what, it's the sun's out now, let's, just take the gloves off. You know, we don't lie, it's it's, so I want all right that's going on over. All right, so I just, um come on up. You know what? We're gonna, um I just thought, like, you know, like, you guys have chosen this place for a particular reason. So, robin and go off side, I just thought, you know, let's, stay here and just get some really beautiful shots. So I'm going to just you guys can just do what you're doing and occasionally just come over and, you know, make some changes and tell you things, but so what we're going to do, you know, see that like that a little alcove just say I just thought like in a sick um then I might just get you to walk over there and you can just hang out together so that the great perfect all right so when you say all right I just got home I just gotta get my tethering table cable ok? So I've got my camera all ready to go um so that's really important big thinking about that about you know what we're doing where we're going and so forth um you know, I've now normally on dh I don't know if I mentioned this just they're like I don't normally have an assistant but if I'm doing lighting then I need something to help me on day role is just to concentrate on the lights and insightful so I'll direct him but you know, straight off the bat we you know we're gonna have like, a shot just here as well so I'm going to just do what, you know what I mean I'm gonna go really want I'm gonna just just my expro exposure now I'm looking at like, you know, composition like the leading lines are going to move over here so an occasion what I would have done is over paused in there because I just looked so nice um but I didn't wantto, you know hope their momentum so a tw the moment I'm just living them just tio to relax now I visually sore shot as a walking through and if adam was on the other side and leading you know came like this then like it would be just a beautiful shot it he'd probably be turning turning back so they're already getting into it but I just wanted to explain the shot because and this is a really important rule because there's something happened great already and you might miss it or something like that is that it's so important to say our stop do that again or you know don't go ahead and just sort of like um you know, be just be patient like if something's already happened even more is going to happen all right? So like he looks like he's gonna happen already they've turned around um and it's gonna take these glasses off so immediately when I'm thinking is full ground no, obviously what I would normally be doing is having my seventy two, two hundred and I'm shooting here at f four see like the now the natural hands that of kings just came down there, you know? So and then ahead moving forward, moving back, laughing him looking away I mean, these are all really, you know, beautiful moments, especially like that one there and what I would too is now I just want to change my position just a little bit and notice how far away I am I can actually be with the seventy two, two hundred you know, I think that's one of the like to getting nice and close and it's one of the things about like, you know, if you're getting too close too quickly, you know on don't get them give them a chance just to relax and just become then like, they're going to be sort of feel too awkward now. Now one of the things I just observed was when they were moving is is the light the light just coming through the veil between the two of them? No, I'm going to just be adjusting the exposure side of things, they're going to be getting really tricky now because I want that son flare coming in and I'm shooting into the sun and I'm mixing inside. I do need to check my camera where I'm gonna probably under expose this no, united said they're really quite dark, but we're going to be out abroad in that up in photo shop. I'm really conscious of this tree on the right hand side because I want that in my framing and I might even come down and if I want to just get a like a little bit more is that I just get this full grand as well and see how I'm like constantly thinking about it and see how they're so I don't even have to worry about the couple here they're just doing their own thing and we haven't playing this way haven't spoken about at all um but what I'm trying to shy is and you'll notice that the images are quite dark and that's on purpose is because like I've got this very broad highlight with the sun coming through the clouds on dh I could bring that detail back if I'm doing the right exposure and it's about like, really constantly trying to think about everything that's happening all right? Well, I'm you know I'm so you get a general gift or an idea of doing that I'm gonna make my way up to them um situation where the sun's popped out and and because like, I'm talking to myself they're ignoring me and it's what you want, you know, I mean, they just went back into doing what they're doing so if you're sort of like, thinking or you know, looking like that, they're going to just sort of realize that you don't want to engage with them and then just going toe engage with each other, you know, because they're in love and they just got married and they're excited ok? So I've got this like now and I'm gonna have to just check my exposure and you gotta decide like now if you want like uh, if you want the now there's probably told me is here only because I want to make sure like exposures arrived as well the composition and then and look att the hands and watch and all right so what I'm gonna do it like you normally would just let this roll on but I gotta get that okay and then you can get if you want to like you just goto try you know like with the sun coming through and obviously we didn't play for the sun to come out it was all cloudy before so you got to really be adaptive you're gonna really change so so I'm in that situation with the sun and the you know with the veil and everything like that I have to really be just checking my exposure when I mean aperture priority meid on dh I just will make the adjustments using like the exposure compensation continually monitoring but doing it really quickly at the moment you'll see I'm a little bit slow down because of the tethering um it just sort of delays that image coming back on the camera and so that's why that's happening otherwise this is cycle split second stuff so I said you know what kim you know I just this beautiful like you know what do you want to just sort of put the flowers down over just give them tow adam and I just want youto yeah like teo and then you know what? I'm just and you wanna just lean back up against that war so and you could be just watching came in it came you're just sort of looking off that way, you know, and in yet and then just do that yeah that's gorgeous this is unusual for me I'm watching the steam out of my mouth coming from my legs uh I'm going to check that you keep doing that that's cool just all right, you know? And um and it just even look over to the sound like that what do you think this is and again I might just change cameras he normally and and then look through and but see it's all about the line you know, it's like you know and not so much he will get this grand location but I just sort of, um came in really nice and close composition you know what the background is and maybe just looking back over that way yeah. And you know, I just sort of turned around backwards, okay? Yeah like that that's it and did that wanted more. So now I'm gonna be focusing on adam and in back on to can and then back on to adam and then just trying different things that so I want to go back to that shot now um so come on over came in at him is what I'd love you to do is just walk across three been this pathway now and I just want you out like two, three foot three feet and I'm gonna get you on the other side and and then what I'll do is like you could be looking back and just doing you know just yet look wherever you want yeah, yeah but going that way you say yes, I don't you're on the far side and let me just get in position and then you're going to be like chief bit favor like you but still holding hands yeah like that all right, so so again, you know, remember one of the very first shots I said I didn't go and this is where I think it's really important that I didn't go straight to it straight away because I just knew I needed to give them time to relax and so forth and now we got some really cool are coming through and happening so we're going toe quickly do this short just just that my exposure let's um let's just do that one more time and and then just sort of like a little bit slower and a little bit more free and flowing and things like that so and you give me like, occasionally look back occasionally look around and if you want you know you can stop and then like just sort of take off again okay, perfect. Just before you d'oh, I just got a time out of saying ok, so it's important to, like, listen to what I I just said in those instances now I'm guarding now I've actually taken control ofthe the scene in the setting and it's really probably bordering on, you know, from a creative l its editorial teo, you know, more of a creative sort of, you know, portrait sort of saints because now I'm there's a degree of direction and everything like that if we could probably just zoom straight onto the couple again like and if you look at them now, like how they're holding hands it's cold and so then just naturally just sort of like into each other, so can you see, like, like a recurring theme is that as soon as we stop directing, they know what to do just because I just know what to do like with themselves and people know what to do with themselves. So the more we tell them, sometimes the I guess the fervor away, sometimes that we're getting away from who they are as people so it's so it's important tio to think about that. All right, guys, this guy through all right that's great this perfect so said then on that second time round, everything came together that was really it was really natural and you can see it again like they just really just they know I like at first the first time I did it's natural that they're gonna have ah like a russia blood to the head and and then because we're going to do it already quickly and then you can say to them you know we're in no rush that's just relax that's you know, sort of calm down and everything like that all right? So let's some comeback on over tio just the other side and I'm just going to slip into here all right? So we're gonna move all the way over now to the other side all right so what I'm thinking here is like and it would be a lot more seamless then and what we just done it but is that I'll be saying you know what? Why don't we go down around and along this path here and you know say to them what did you go up that way and I'll just nip along over here and again all of a sudden and they're starting tio state journey you know? I mean coming down this sort of pathway they're like and I'm down here they're going to actually just naturally start talking to each other and all start you know, photographing them as well so so what cumin adam, do you want to just walk down towards me ok, so one of the things like I would be thinking about here is like composition we actually got sort of these nights lines I'm so I just sort of take a photo like, you know why they just getting ready they just sort of getting rubbed up it's really called like like seriously, like old yeah and then she's just in a like a normal wedding dress so so here we go like so now you notice now, like what I was able to do by taking that shot first before they came in and now I just need my focusing point down as well, so I can just sort of get a couple of shots and just waiting for that moment and now I'm actually changing my competition completely and I'm working the shot and we're going to talk about that in the next session like the six shot rule and how we can actually, you know, train, yeah, but I know I'm going to just zoom in here and like, this is what I'm talking about like that like that expression and so that expression is like just so natural and often you find out when they're walking and not directing all I told them to do is just like, walk down this way and everything like that he's so cold borrowed um okay let's see you know what I mean? I'm going to get you both to do that um again um there'll be w great but you know what? I might get you to be walking out in front just a little bit like you know what we did over there if I'm really sorry let me go I already see now I'll just look um before I mean so what I'm going to do I'm going to be going to a shot that like I pre conceived and thought about now you're going to see certain things in here like the broadcast van and probably everything else when we go ahead and do that shot but um so you remember too don't limit yourself like you can always remove an element that's distracting and that's one of the things that I hope opened up your mind yesterday about, you know, talking about like we photoshopping you know what you know painters bring and so forth is that you can remove a distracting element so often like you know, and I'm the same is that I'll see something in front of mango what a shame about that can shoot here always that would be the perfect location, you know, why not shoot it and just know that you're going to remove it and also tell the couple there's often that like I'll find like a beautiful location and like a beautiful location and you know, and there's a lycan exit sign or something like that, you know, just, you know, this is amazing to the couple when you see the proofs, you'll probably see this exercise just night when we do the final prince, they'll be gone, you know, and it's, just like a little comment that we can do all right, let's, go. All right, so let's, I'm going to go for a bit of a walk, and he, you know, as I'm walking away from them, the couple were actually just enjoying themselves and because I've given that, you know, information to them that they're allowed to dio um, I just couldn't working at my lead won't be too long, but I'll just why we're just working out my life because I want to actually try to go even further is I'm going to just take a shot and just to show you what we're looking at now, you see all the people on everyone and I'm looking at my exposure as well and why I'm actually I may even do this, like before I get the couple to walk down any way just so I know, um, what I want to get before I get here, so you're not going to make it to this path. Well even he is just fine and I just sort of um so what I'm going to do just sort of to save time is that normally like I would shoot it here and then you know I like because like if I think there is a really good shot to be had and you know what I'm going to show you here is that what I need to really seize a pathway and we don't really really see that anyway a tw the moment and so I'm just gonna grab that that ladder and so what I want to do is I want to just get up a little bit higher and I would just generally look for somewhere I can do like you know you could park a car here and jump on the tire or you know have a like a little ladder in your car just to get that little bit higher this is like the little this letter that I could find so it's not like really I would travel with something like this um but yeah it should be this is going to be interesting you know I probably went out they have a way all right no and what's great is that like um is now I can actually see this pathway okay so you'll see the difference um and I'm just gonna come out just a little bit higher in from the shot if they showed you that before now to this now, obviously, don't worry about the van or the people, and and we can end like we can think about these great clouds of in front of us, and then we can look at the composition of this way or thiss way, you know, we've got the choice, and when they're coming down, I might just shoot both ways and often it's just going to be later that I'm going to see that which way that a professor so what I might do if I could just get everyone tio, just try to go in that way so I can just like, in front of the van that be great. All right, so I might even, like, all right, you guys, if you want to come on down, I think it's a signal to them, you know, that can walk, and, um, and obviously we took a little bit more time than we knew this would be always just fluid, and it would just be going from one location to another and another and just to show you like, you know, like, I might even see, like, another shot as we're going, you know, and thinking about that, but then I don't like that composition because the leading line just goes out of the frame. So I need teo you know, change that there's little things in the shot like, you know like that sign that like, I know I can remove later I would have made it before the shot now I'm just going to go teo ah horizontal mode and go to the shot that I want and it's just really nice that they accuse and in some ways like they're remembering just from what I previously told him said now that I don't have to tell them again um what's happening all right? Who is cool? All right, I'll just take one more shot now I'm on my settings at the moment I'm probably shooting around six forty eight of a second at f four and and then um now averages a good good question here um is like, you know, like I promised she'd like the sort of scenes what we're doing and what this location stuff around it for teo you know, five point six that gives me just a little leeway and to be honest it's not going to really make any difference, you know, in the ivory role schemes of things like if I did shoot a two point eight if it was low a lot I would be happy to shoot it like t point eight and so it wouldn't be a problem in one of the things that just what I'm observing is that this's actually everyone's home way you know, if you're listening is they like, go out on a wedding but just observe you know and then try to go to another wedding where this you don't you're going like sort of as a guest or just a zone observer of through the day and and what happens is that you will see how this natural interaction with people in these moments just happen and you can start training your ryan and it's what you really really wanted a day that I mentioned how cold it was I think my hands going t o all right like none and that's all good like I think like everyone at home we're going just hot enough you know? Um yeah yeah let's just reset just like they have to go to the other side of that um that post yeah, I think in the industry we have this saying like, you know, eat a bit of concrete and hard enough so you know, so it's crazy like on the other side of the country he liked having super blizzards so hope everyone's eye okay on on that side of the world. So you know, on the other side of the usa all right again like, you know, when you like seeing these images forget about the van forget about the people obviously that wouldn't be there um normally, you know, was shooting just really, really wide tio do it but you will notice that I'll bring a second camera over and shoot shoot that to get in a nice close shot as well hey guys, if you both see what happened like a soon as I went to say something like that went to have a kiss you know and um so again it's just sort of like thinking about my composition it is nice is clouds you know that that line you know, very good you've got to think about the tree on the right hand side you know, if they do stop like that and if you got one shot then just sort of like, you know, seeming and then got to think about like, the rule of the um you know, like not leaving him in the seventies interest, especially when they're walking you need to probably having one that side of the frame so they've got room to move and you know that and you know what? Just speck up just a little bit and just stop there stop there yeah, yeah, yeah that's it that's right? Actually come back just a little bit and I just want to show you one sort of shot and forget about the middle pole and you know what just sort of come and sustain side by side a little bit like, but still nice and close yeah that's it and now like you know, you can just sort of get another shot and see how their frames between those two trees and then we got those all of the the trees are recovering and I'm just going to check my exposure, make sure that's like because it's a little bit more critical when where doing a pose like this and that's really good even though it's under I'll be able to just sort of dodge that area but I'd be able to bring that duck in that area then the top u s so this is the framing where like, I don't think that works a cz well, I mean, it's nice, but I just prefer prefer this and again, like because I wasn't asking them to look at me, they went back and did their own thing and it's, one of the things that I want you to just learn is just let them be themselves, you know, I still do exactly what you're doing, we've as faras um you know, all the posing and all the sort of stars that you do now, but just add this to it, you know, just if you're not doing it already, you know, so so perfect let's let's just going to come on down and we're going to just sort of do a little bit of flash so like occasionally like you know sometimes people say well this lot is so flat but you know what I think it's just beautiful like you know it's just like a giant soft books you know it's pretty pretty incredible um so but one thing that you could do and I'm just going to leave them just here is that we can d'oh flash um lucky is a bit of flash and things like that so I'm going to change my camera sitting there going to go now to manual um I retain my odo I oh off and now I had my photo I saw you said then it I say four hundred is the minimum on denim shutter speed it five hundredth of a second because I might as well do it I'm just gonna need the flash you know um and then what? I went to maximum sensitivity at twelve thousand eight hundred let's just have a quick look and it was probably shooting about like the shuttle was about a thousand of ah um I saw it it full so so it's fine. All right, so what we need to do now is understanding that I saw it when I say that is what we just had so I'm going to bring it down to like let's just got to make it easy one hundred isis I I'm just going to take a shot at one twenty feet at five point six okay, now what I can do here is that's just my base reading, I wanting to under expose like the background on going to bring in a little bit of flash to the shot so I might just bring it up to two hundred, um so let's, so let's, get the pro photo pack. So so this is, uh you all right? Thank you. Go said now what I would do this is, um um, very a human lining assistant, and so and this is where? Like, I won't put anything on the stain. So, no, the most important thing about the what we've just done is that we've done so much movement we've gone from place to place, and when I started, whenever I used to think about lighting is that you had to be in one place, but you don't you just need to have an assistant that knows exactly how you work and you work. So if we were going walking along this pathway than what I would do is that I would put gary just in front, even probably about this distance away or a little bit further and he'd be just walking in front of them, but on an angle because what I'd be getting is that sort of rembrandt, you know, sort of star lauding says they're going to be flat on and I mean but that's could be another thing he could tries like you know, the lighting down here one of the things you got to try to do is just angle that the lights up a little bit personal getting the ground too much but you know what this huge you know, wash of lot in front of them so you want to try to keep it natural the one thing I do like about lighting is a it means that it's more polished out of the camera we have a lot of those shots like to get the real magic I've got to go into photo shop and really created but he would be able to do it so what I'm gonna do I'm just going to try a setting and so this is ahh you know I just grab this off you um and this is just like the prophet cute bee pack that I have um you know exactly the same one is home and I love it because it's ah, you know it has plenty of power um plenty of a recycled time and all that so you just kind of, like learned to use the dial so you've got like I'm going to use just like I had negative two to start with and about energy nick negative one um that's all set so let's just come over here gerri so um just coming here just about that but they are and it's just like bring that up a bit higher yes it's not see fire on the ground but it's just going to be nice now this just goes on your shoulder have you ever done the lighting archive passions so if you've never tried it I just want to sort of show you how easy it can be you know what I mean? So what I'm gonna do is I'm going to just make sure my flashes on and it's going to do a test just yeah, that one win if we turn that one off the overgrown make sure that's on on and make sure this is understood it on and off and then just a test so that you don't just hold hold that just say so I'm just now I wouldn't normally do this like, you know, we've like the bear light but I just want to sort of show you and so I'm going to take a shot now um often what I'm doing is I've got all this prepared and I'm just going to see the the output and it looks like a got a pretty good already. So um so what I've got it said that it is I met two hundred speed for my shutter five point six as the aperture I've got that on manual on the flash is that quarter power cord a palace everything's manual so then I can just adjust it and what's really important about that is then when we've got the lighting rocio perfect. Then I can have the assistant and these guys just walking down the pathway, the lighting insistent exactly where I want them and everything just sort of comes together, so but yeah, let me just sort of like now what we can do, we can, you know, if we want, like, shoot with a lower I, um, aperture. But what we just need to do is, like, just go through and just adjust our setting. So by doing that is that I would just bring the irs so down I'd be. I want to bring the shut her up a little bit, and it would also allow me to bring the aperture down. And then I can also then even bring the flash power up and down as well. So there's, so many levels that we can do. So let me just get one sort of shot there. So because I just got this framing behind with the trees and you can get just looking towards each other.

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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