Location Shoot: Urbanscapes

 

Wedding Photography

 

Lesson Info

Location Shoot: Urbanscapes

Now we are in this like rand place you know, the landmark and so some of you at home will be going you know, like I just think it's a shooting places like that and me too like I mean always on dh sometimes you know what? I don't want to shoot in places like this so I want to look behind me you know, like we got this loading dock and you know, we've got little places that you know like a really simple and it's just sort of sometimes it's the same sort of principle you know, sometimes it's architectural we want to look for lines we want to look for a space where we can shoot and and that's what we're going tio do so we're gonna grab a couple and uh and then I'm going to just sort of stuff and start a few times and we'll go through a few things as well, so all right, ese, how you guys going? All right oh it's so warm now you won't believe how woman is now it's incredible it's just run. All right, come on over and that's how you know, like start off and I might get she tio just come up to ...

the top in the middle yeah that'd be great so already where was shooting with thinking about you know, um remember we've already directed them to do something um but on the way it's like the journey there's always something to capture and it's important that we think about that and look at this already no, I just haven't shut this before and I'm just looking at the competition like I would be thinking in photo shop I'll probably just sort of crop a few things like just do some refinements especially on the right hand side but you know, like we're probably not gonna have that beaning or its second just cropping and think like that so I got them dead center and they're just looking towards me it's um just you know what? Like you just don't like that I'm just you know, you know yeah like yeah yeah that's nice so this is really interesting to see that part on the side, you know, it's sort of adding to the competition no, I'm just gonna just seem back out just a little bit okay, so you know what I'm doing? I'm shooting this very similar to how I shut up before I'm at about a thousand I so on it for and and I just sort of got the exposure compensation just down half a stop for about a quarter of a stop just to adjust everything and just see how like that um because we're chatting, you know, like adams actually posed himself see like how he's leaning he's got his hand in his pocket and that's, what I really like is that if you wait long enough that that will pose pose yourself and so sometimes you have to be careful about posing in because, like and then if it doesn't work and you find that are now it looks a bit uncomfortable because you've done too much direction you go, you know, let's go over and just move on somewhere else, but you know, I want to try to show you something and let me just bring in I want to, like, sort of think about what something coming on I said yesterday about changing your exposure to like, uh, you know, shut a priority and showing movement, so if I can get came like, just come on over just a little bit like about like that and you're going to just sort of like you and you know what? Let's some bring the flowers down and, oh, grab that for you don't bring that just today left out, you know what? I'm going to get you to just be walking past behind, you know? I mean, so I don't I just set my camera in a second, and what I want you to do is just be looking up over that way, yeah, and then describe your bail over so now if I could, what I would do is like you know I don't just stay he didn't behind there for a second you know, because it's just second nice shot and I'm not just bring the uh this sort of show you what I want to show you like the competition now like just so it's just really simple and just look at the light to you can you mind facing just the light that way see like I just like looks right at the mites gone really flat you know I mean so look on her face but if you just bring it around towards me a little bit yeah see the light now like the light is just like beautiful and so it doesn't matter where we are wade doesn't matter if there's a jet flying over or anything like that but what we're doing is like way just looking for that light so even if we were at the front we're looking for that lied here we're looking for that lock so um so often I'll be thinking of a shot I was thinking like, you know, I want to get that movement you know, behind all that and all of a sudden I saw you know kim and she looks just amazing just by yourself and then you know, I think about well, you know, let's do a shot you know, we've adam there as well, so I don't want to just come forward a little bit now oh, and then just sort of like lean up against that back wall coming coming a little bit uh over a little bit more like that that's it and I just sort of be like looking down you know, like yeah like that on the other side yeah, yeah that's it can you feel looking over there yeah, you got that beautiful like just coming in on you and then we've got a shot now and I'm just gonna come in a little bit again if I had my seventy two two hundred you know, like on the other shoulder I just quickly do that and you can see now and just look towards me that's great and then you can see like how it's just really really simple but you know, we're in a loading dock sometimes I want to show that loading dock sometimes I died so what? I'm gonna do it now turnover tio shut a priority and you can see exactly two like that. Um, you know what I was what I would do is you can see like I would have an idea and then I've gone to another idea straight away because I was thinking that looks amazing and I just saw it I thought rather than go back to that, I could just pause myself and so forth, okay, so what I'm gonna do, I'm just going to make sure my ire size down to the last possible and we're outside normally, I would be doing this indoors and I just want to try to do this outdoors so I can just show you at home what I do, so I'm going to just walk on pass and yeah, this really quickly then you know, kindy one if I get youto just do that, but I want to keep your face, try to still went looking I've been on sort of actually know, maybe even down that way, like a little bit towards me and yeah, that's it that's gorgeous, so like, do that with your veil and then by keeping your face nice and still an enemy if you walk parson and sort of look towards you, all right, I'm gonna do one more and you can see that like already. Now I'm on a twentieth of a second, I've changed of his shot a priority, you know, we're probably shooting it like f sixteen or something like that on the lowest I saw, so I'm going to actually bring the shutter down even further to you like an eighth of a second, actually, yeah, I have a second here and see if I can do that and we do our most all right? And so yeah, you can see that like no that's like uh like he's blood and so you can actually add movement into the shot so you know what? I just got it it's what planes are seeking just could just hanging out and okay, I'm going to go backto aperture priority and then you would know it I said I just said to them like, you know, um I want you, teo just ah, you know, I'm going to swap lenses and things like that, and I actually lied I'm not going to stop lends a little the reason why is it it's a great opportunity for you to let the couple just be and observe them? And what can happen is that now they're just going to be relaxed, they don't think they're going to be photographed if you're in that situation where, you know, like it's, just not working at the moment like it's a little bit for quick um they're feeling, you know, like that it's a little bit taints and this might happen just at the at the start of it is that jenny, what they'll do is like, uh, is just then relax thatyou conceding the body language is they just relax on dh, then you can come back, you know, using a lens and they're often then like you know just sort of you know doing it like relaxing and and having a moment themselves and then you can move back in and and shoot a swell so so one of the other things we would do is I learned to help me the process creatively is the six shot rule and so you've got a scene like this and you're thinking ok like let's work the scene you don't mean and maybe even worked a subject and you've got to think that you got just only six shots and sometimes you may now it like the very first shot sometimes it's the six shot when you nail it or you know in but it's trying to think ok you've got an idea and it's about working at just making fine chaining adjustments with composition lied on sofa often if you would have noticed like what I was doing everything was precise and thought out from a point of view is that ice I started to seymour as I was shooting so a soon as I you know had them up there and then I you know came look that way then I saw the light the light just sort of popped it was just amazing on dh then I started to think ok now get the light right let's hone in on the composition so I take a shot and said like many like him up to four or five shots then everything comes together and then on that six shot you know they're relax I've got the large perfect everything feels like it just comes together and so it's just sort of like, you know, working that way being patient andan it works you know really well so come on actually you know before you leave that said let's think of this spot as a big broader group um photo you know sometimes uh you know, let's collect at the uh the guys come on over let's do it like a group shot so like of the broader party so like all the work workshop participants come on in so I'm gonna have you guys would have been a nice shot with them apart and then you know, together and everything that I'm gonna put you bring you guys together in the middle if you both if you want to come on up and then I'll be I want to yeah, you just you just leave it even just right there that be fun. So this is exactly the same principle as a cz yesterday during the family's shot you know, it's um you know again like, you know, because I'm not sort of paying attention to them they're also just naturally interacting with each other and so that's great that's what you want you know and also in a way like see how they're posed themselves as well because I didn't even give them direction so that could be just a great shot you know, like, uh they sort of like back and forth and everything actually looks really no I said if I took that shot you know, like um that's it perfect all right and then just looking at what's me right? All right, now what I'm gonna do is like I'm going to take that shot and then when I want to do is like I want to make some adjustments so you know what I mean? Do you mind like just sitting on the edge of your legs dangling over your perfect if you'd like leaning into that war like that that's great. I just got back a little bit actually just like that just come for yeah that's it also and just twist a little bit that way and take a little set that way yeah that's it so that's nice if you sort of like come in and bring you lucky going to lean up against that yeah like this in front of that hook yeah that's it that's great all right and perfect. And you know what was really great about what happened just then wass is that the sun came out um because and that's what it's gonna happen is like it's gonna challenge you, you know, and uh like I really like that look as a photo like so but I'm just going to say I'm going to take you like this from a composition sort of point of view and I'm gonna include more of the area now but I want to I just wanted to show you that from a composition put it here but I need to now change it up because really like gary's in shadow but everyone else is kinda like he came forward by himself so that was great yeah I just come over just a little bit come forward just a little yeah like that all right so now like I've got everyone in the sun you don't mean and because the sun is uh I mean when I'm working at home like the sun straight up and it's so terrible this is actually really nice because it's like everyone's you know, faces I got this you know, like beautiful highlights and everything like that so I'm just going to change my aperture to about you know about f five now even actually five point six because they just got a little bit more depth and then I'm just going to take this shot and then I'm going to make it a change I'm going to take this shot and I was just going to make a change so uh you guys will stay like that, you know? Do you mind if I get you to swab and so what you doing just sitting there and then with your back up against the wall yeah and then you can yeah like that you don't leave your leg up yep yep yeah that's it perfect all right and then just coming that way and then just face that way a little bit yeah and then just going that way into you but we've you're dropping here and then just both go back just a little actually just go over that way a little bit all right that's good. I just take like, a slight change um you know and just sort of thinking about the composition and now I really like I really like it it was just sort of making that like just change remember keeping mind wearing you know, in a loading dock and so I'm like sort of shoot it wide and you could even shoot it like way not having the concrete ing and having a little bit more that roof and then maybe a vertical thinking about composition all the time let's go you know what? You guys can just try to each other just studying that area this guy and often people will be going re barbree bobby, bobby, bob and then like and then just coming like not since hard as well with the chatting and here I take like a few shots you don't I mean because it's hard to just get that interaction and what I'm doing is just like taking a number of shot and what you could do here if you want to know, is like, let them child and and then, like, you don't even have to tell them that you're actually changing lenses or anything at this stage and one of the things that you can do, right? He said, if you have having problems, you know, during this, like you guys keep trying, I'm just gonna go to my dear, I won't be a sec, all right? So so is that now I just tell them I'm going to go to my gear and I'm thinking, ok, what? I'm going to g neck so I can pull out my fine or I can just sort of like, you know, look at like, um, you know, like, my able can say, you know, what I'm thinking about is, you know, I should do a show like that and that's, right? And it's sort of like a mental prompt because I can say, you know what? I like that journey, right? Remember the journey because sometimes it's, not always the destination it's like from getting from he today, that will be a really, really great shot, so some of the things like I'll do that a cz well so what should be great? So it's just sort of taking it I mean it out just if you're not sure where you are or what you should do, you know, just get like like your inspiration book or e book out on just go for and have a look hey, guys, this so let's go on, come on over over here. All right, remember, like I was saying about the journey look like they're coming down. I'm just now going back to fo immediately and think this is just this is great. So remember, I didn't even think about like I was going to shoot it, um, because I'm sort of multi tasking today thinking about you guys and then but, you know, like this is what happens is that like, you just got to be prepared a swell so let's, some corner. All right, so this is like a remember we're looking for life um it's sort of grungy um okay, great. All right, you know what? Just sort of like, um over here first, like I just know that scene, that metal pole and just sort of be like, come and sit there so again, like, you know, like getting the is one of the photos you know, we're in, we're in the back our buildings you don't I mean, you know you can find this sort of stuff here we were you know, I know I'm gonna stop you buy for over all right? Yes, I did. You notice that like she picked up on it right but you know what I mean, sometimes I try to be a little yeah, it might be great and I'll just talk, you know, and especially hide like I d like, you know, I just try to make the guy higher, you know, then the girls um it's just like a natural thing and I'm trying to sometimes we just really sato about it, but just because it just looks natural and it looks right in the photos as well, ok, come on over and then like maybe like if you can like, can you lean up against the the thing in that way you can cuddle together? You know, one of the things you got to do two is like is maybe make sure that you've gone down there and make sure that the it's okay, so I'm going to just sort of show you again like that that creative side of just sort of thinking about, you know, composition say there's a moment, which is great, you know, the compositions or rye, and then I'm just making fine chaining adjustments but then I think ok you know that's nice and I'm looking at the camera and I'm looking at you know, just making sure but then I think you know what what about like something like this yeah I just looked at me like that that's looks great that's beautiful and so I'm just going to come on dan and then and then it sort of like see like I'm using like this leaning line here you know that goes so that you know you guys can just thinking towards each other you know this guy and then I might like to have like, the pot between the building as well and now I like what um is nice about like this he said this so many lines and it's so much liars and then sometimes we just have to you know, keep working and thinking it and I think because I come relaxed, calm and I just keep taking you know, photos and things like that and they looked towards me and it's a nice sort of look you know, I just sort of keep working that paul I could just sort of take out wait why don't we go down the lane way just a little bit now what I see is I see that lot right at the end it's beautiful alexey it just came out now and if we got vision of that like it's really sharp line so I'm just gonna like he's out of this you get this line at the front and we got the line at the back of the shadow like of the law coming through I'm gonna just pump up my exposure a little bit because adams in shadows so that makes it a bit harder but we can bring that out later and she you know ah just time come over to the wall they yeah lean up against the war and I'm just sort of coming in front yeah and then just yeah that's it that's beautiful yeah, the reason why I was actually thinking that shot was right at the end you know and I was going to save two himto leaning but then they just did it you know I mean so he'd try not to say then it's great. So if you look at the lines I'm using and everything like that and now you know it's gonna get that lie I noticed a hand the body language and again like I would have the seventy two, two hundred I would come in still got that line coming in now because they look towards me I'm gonna come in um a bit quicker you can just make me look up like yeah that's it maybe even bring your heads together? Yeah that's it as you know what? I didn't give a little case like on the far right that's it beautiful and now I'm just thinking differently with my composition to what I was trying to before such as trying no shit little juana and then my kitty to both look towards may just like that, you know, and just some you just sort of bring you back against the wall every morning and then I'm just sort of come in a little bit behind us and then coming yeah that's all right beautiful and then I might just get you to look towards each other I'm gonna get you looked into the leaves yeah and then I'm just looking towards kim all right? So now just come on out together into the center yeah, I like that that's it yeah actually I don't really like when the flowers were out a little bit and then you come over just a little bit more yeah a little bit and just yeah that's it and then came just come on over a little bit and and I don't just come over ever so slightly again just said that's it yeah, perfect all right and you can just let the yet that that's fine. So obviously we're just being you know, you gotta be careful the dress and everything like that, but um you know now because we've got the lights so the lights go on at now and then it's just like a really nice shot you can see how like I jumped from, you know different sort of styles and you know, different you know, posing and um you know, different you know prompting and sometimes just letting him be so you can you and then like I'm I just sort of tried something different again you know, composition wise even like this all right and then let's just make sure there's no emerges see how I just adjusted composition because I didn't want that part you guys just hang in there and then I just change the lens for real this time so take you kind of just my bag so so what I want to do now is that like I feel really, really comfortable we just got like so many really great shots I'm going through that now we can sort of I guess like, play a little bit it's like, you know we've got the safety shot um you know, like, um yeah, and so like what I'll do is now show you like, you know, some of the things that we can see now I'm just going to quickly jump to this this lens where I mean now would be really nice to shoot with the like theeighty five mill one point four but I'm just going to use this lens that I actually made myself just so you can sort of see, you know what we can do and you don't have to have, like a, you know, four thousand or three thousand dollars lanes to get a great shot, all right, you know kim, do you wouldn't want to just stay there? Adam, do you wanna come and lean up against this poll? And so I moved adam because so he would be in the sun. So obviously when we're chatting like and so this is great today, like, great to see you demonstration of the lot coming in and out and everything that now the largest softly changed again and now it's so beautiful anyone's going to just let's have a look then, and this is where I do have to check the lands and then can just looking awfully yeah, that's on then I want you to look that way, yeah, oh, actually looking down or whatever and I'm going to get you to walk away yeah, so let's just stay against this war in a way as you're walking, you know, actually back towards me like yeah, yeah, yeah, that's good, I don't just sort of look back as you're going and then looking up. So yes, so with this lens, I'll probably get a little bit more because of the exposure and so forth as well, so which is great you know, two great guys one that I know personally his amazing package a fister you know, he just sort of you know, playing that that seat and you know what? Let me know about lenses that he makes and things like that um so just great you know and then also you know what was amazing is another guy could mark tucker you know, you just you know, old process is you know, it gets different lenses putting on their salah's and you know, I mean so it's just looking outside of the box was something new but, you know, like having the bag to a lens on lenz baby as well so I mean, you know, it took me a while to make this lens but you know, it was so much fun doing it that's what's you know, like so much enjoyable so the other the lens basie linds baby composer pro it's got beautiful glass so that's, the thing about this I think I made this is like all terrain lens we call it because it's a kid's higher so I still don't understand how you made the lens markets didn't okay like these kind of walk us through what that means so so so you just I bought like the like the adapter for for the nikon like just on ebay it was like five ten bucks um no it's just an old lanes like it's a um like an old mumia lanes is forty five mil um beautiful meaningful matt lands and off between camera you know, which is a c three thirty um and then it's just a kid's tire you know, off a remote control car and just sort of using some superglue and arid id and just bring it together and then it allows you teo for it to be pliable um so it becomes like a teacher and so it's amazing for details so if you're looking at you know stuff you know I do have like the nick on tv camera lens the forty five mil in the twenty four million and they're just amazing so I use them all the time as well but I'll occasionally get this out and have fun with it but the idea I just wanted to show you is that like photography is fun just you know don't let finances get in your way off creating great images because it's not about the camera box it's about who you are an extension of you that makes image it's your eye you can see me working this image and everything like that you described all right that is very cool marcus you know, let me for the eighty five year old um because this is like an amazing land so so occasionally like you know rather than the the seventy two, two hundred I'll have the eighty five million the other body you know I mean you know getting something you know really different you know and in the last couple of minutes of touch adding the light probably changed two or three times and again this is what you know you gotto you know do on a wedding day no and it's where I love working on petra priorities that I just through that lens on and I was about to change the opportunist strike into one point for and then continue working where we manual probably a little bit slower and things like that and this is actually another reason why I love working up which priority notice that like the lights changed so much in the time we've been doing this and that if I was shooting in manual to have to begin constantly thinking I just changed it just changed I have to change it and so it's detracting from what we're doing with a couple on dso four so we're working with appetite priority you know it's amazing and I like I can like I've shine you that working in like places that you would simply walk past can be so amazing and because it's about the lines it's about the simplicity composition on dh again back with the impact of the couple and the the emotion and so forth all these combined become you know make really right images all right, so here we got we got oh, you know, one point full ins on and it does like it just does beautiful, you know all right, now what I'm gonna do I'm gonna get you life to walk down to that and I'll be great, you know and what's funny about this is that I was thinking I would have had them down the end about ten minutes ago but what's good tonight is that even I like my plane was to have him at the bottom is that it can completely change all the time all right that's it beautiful just say that you had just cuddle in just that that's it and so what I loved like originally you know, I saw this shot and then um again because it's the leading lines what I want to do I want to go wider now so to show you um in effect before I do that I wanted to get a difference and you mind like what you have just kind of ever so slightly in the middle yeah that's it oh ah ah and you know, I'm going to just get the the other linds now already kate said normally like I would have that bag on me and um so and I wouldn't have an assistant so so I just want to like, you know, I think what angle I mean this is this is all right you know what I might say oh you know um adam can you lean up against that back wall uh actually just over a little bit about that that's quite all right and then hey kim just sort of maybe even just go overto adam that's it um came just take a little step but yet a little bit more like that's it okay and then adam now slide over a little bit that's it just sort of come up a little yeah and so so what I'm thinking is like the height a ll the time and everything like that so um now you can like uh looking at it so you know actually you know what I did love kim is like when you are facing adam and you had that veil like in you just like I see a bit more of the back of you so just twist around all right so what happens you guys keep doing that so what happens if you got a second photographer you know we've you wait way should that second photographer bay you know so one of the things that you got a plane for is in this situation so um what it might do is a marine do you want to just go around like come on over and you're my second photographer all right so what am if we're going to be working together is that like I don't want to be actually shooting over my shoulder I want you to get something really amazing yourself so so you know in this location what could be really great is that if you go around that other end and shoot from that side said can you do that then the great perfect all right so if you've got like a second photographer is that's exactly what you want to be doing is giving instructions take charge in control off what you want them to do and be really really clear about it is that you know, because I could beginning something really great on that angle and that's one of the things that I probably haven't mentioned so far is that you know, like say sometimes like it's the the like the sun you know said is that it's always sometimes the beauty is behind you you know and we forget to actually look around so it's really important that we could do that so all right so now irene's like getting some great shots sometimes the second photographer is great they're interacting and it takes a brush or a few and then you can get a shot no why were there like what we might do is like come back and think about where we started in some of those original sort of composition ideas we've like the whole scene as well and get something more grand so I'm at two point eight now at five hundred fire so I'm sorry I uh a shutter and about um two hundred I saw all right hey guys, you want to come on come on back and so no, I just asked him to to come on back and this is again is just another opportunity that that was sort of you know I'd be laughing have fun and and things like that and just capture and then now I probably did sort of slow it down just a little bit and and our aim was really, really great then like she like try to get the shot so she's really thinking and everything like that and but then you know, you said I was shooting and I've got a shot and then she moved out of the way and that's what like a second photographer has to do is be there to try to get the shot but know that we can do things so that guys that was great all right? And do we have any questions like from the we do have a ton of questions that are always coming in. Um so one question from fashion tv in singapore is wearing during your composition. Are you ever concerned about too much background with a couple looking too small it's a good guide to composition from you? You know what? Like its simplicity? So if you've got a very, very busy background and you're not really concentrating then like and and that she's small then they could be they could get lost in that environment but with the environment what I showed you here is that I I purposely tried to keep it really simple I was looking for leading lines and really strong architecture to be outward teo you know pull you know, some really lovely images across and occasionally like I would have got in normally I would have got in a lot closer because I would have had like my seventy two hundred on the additional body and I would have been sure shooting that but because I really want you to be seeing what I'm shooting I'm just really going to shoot with the one camera great I have a question from judy be photography who asked my last couple kept looking to me for direction how does markets deal of couples who are not so responsive okay that's right that's where like using those ideas of saying that you gotta change lenses um you know like that they will you walk away and you got to be patient and sometimes we are impatient and we're thinking that they would just start relaxing straightaway you know and the idea is what we need to be doing is thinking ok let's go ahead and you know give them time give them space and honestly if you weigh they will they'll just start relaxing and talking to each other now if that doesn't happen oh then yeah that's where like having like some different skill sets andi that you learn those and do some really classical portrait's lunar out you know about posing learning about lie right ondas environments and then you you do you go to switch and say ok I'm going to be doing this now because it's couples not responding this way and that's what I love about you know knowing so many different styles is that I can go a different direction if I need t that's wonderful adi con photography is wondering how now obviously is not a situation we have today but how do you photograph the couple in pure sunlight do you bring in reflectors yeah you know what I should against the line you know it's like what what's lovely is that I'll use my exposure and have them you know like you know with their back you know and so that way I'm able teo you know just exposed for the faces and not worry about the background if I try to put them in between the sun and still have a doctor background then you could actually get a really really nice highlight around their hair and behind them on dh because you're exposing for that background it's not blowing out behind you as well so it's just a little techniques you can do that so I have a question from arthur toledo who asked how do you convince the bride and groom of the importance of their photos and then he says because they always want to go party yes ok and we want to party with them, you know, like like, uh we just want to say to them and that's where I had that broad oh god, you know no mean is that I could talk about that in the in the broader preparation guide that I give them and an often because the way they're choosing me as a photographer as well, they see that sometimes, like, I only have five minutes it's like, you know, oh, ten minutes to do this so that's, where preparations really key if I if I know that, then you know, we do that, um, but other times, you know, I might have an hour and that's probably something that we haven't talked about too much is how long do I have to do all this often it's about forty five minutes to an hour and it's between the reception in the serum points of the ceremony finishes, we do the family photos and we've got about forty five minutes. And so one of the things that might you know, the couple may say, is that all? But we don't want to be leaving out couples stranded, I mean sorry, I guess stranded and so it's back, coming over objections so for instance, what you might need to do is think, ok, well let's think about this is this is you know you're going to be married all the preparation and planning this is a first time that you're gonna be outward teo, you know, be together a line so, you know, this is just your time and maybe even just with the broader party as well, you know? And then you can also suggest, you know, if you have, like, someone playing a guitar, you got some music and people got some kind of pace and drinks, you know, they're going to just not even notice you gone for forty five years, you know, r and a half, two hours yeah, they're going to notice you're going, but I don't want to take you away for that long, you know, just a short period of time. So again is becoming acknowledging about over objections, this one sometimes like the on the wedding day, the the crew can get forgotten about so it's important tio remember him and takes him really, really great shots. So again, like, um come on over, so come on in just tio here, actually for you t I just want to say I'm going to take a shot like aware was shooting, right? I'm just gonna shoot it really wide shut and you would probably think I can't gonna walk passes so you know, I don't really like it so far but come on in and let's go in now we're just gonna position you and we're gonna go actually in onto the dead and probably yeah just coming about that's also cool so I've come you know, position at him now adam just sort of just got a masai yet like that's that's cracked on and and I just get you could get your lips together sort of thing yeah like that so that's great all right, so again for me it's all about lines all about composition, you know, placement of the subject a swell so what I'm going to do is just use this here I'm going to step back and you know, and then I'm going to get you to just look up over there just probably love it if I just sort of come back a little bit yeah that's it and I'm just thinking about the lines there um I would probably sort of cropping like more, um on this shot but where iran like these actually you know what coming on and lean up against the side here of this unit yeah, just say that's it yeah that's it perfect, yeah even bringing over hand in your pocket as well keep it won't and then say what I'm looking at even like it's really industrial like I'm thinking like, you know, black and white for this shot sort of thing and uh and then I'm just sort of adjusting the competition as well I mean, come come forward for me and come on over yeah that's it and then sometimes like, you know, like like I may not do like just a broader a portrait like of the bride just here but I think like for the green like it's like it's great and changes out like, you know, like you may again you know, like gum walked past this and think, you know, I don't like it, you know? And then just sort of looking at it differently now also you might be to say ok let's let's look for something like, you know, really different on dh just face a different way and you just come on over I just stand here for me and just sort of like you're like that and, uh and actually just sort of like, bring your rights yeah that's it that's it and so what I've done is there's a car in the background, so I'm going to actually use his shoulders to block that car out and I'm gonna lower let me let me show you if I just take this shot like you're going to see the uh you're going to see the car threw him you're going to see the sign and all that but if I come down just a little bit just see me in just a little bit and then say you know what? I don't want to just look over that way like I see just even towards me into the camera like that that's it he had like now like I'm not getting that car you know I mean so you know rather than move him and change him and and all that is that I'm actually khun just change my position to actually be about teo you know, get a nice portrait just something really, really simple and in that case what I wouldn't only dio even though I didn't this time is you know, bring it down to three point eight insightful all right? So that's some if I can grab my flash that were great so we're going to do now I want to just sort of show you um I'm gonna go to manual I'm gonna turn my order I so off ok? And I'm going tio just adjust my settings it's going to bring my eyes so down to the lowest possible bringing down tio two fiftieth make sure this is all working now before they turn my just like all right say what I'm doing now is that I'm just sort of and now if you want to get to a lower I so like I mean like a lower aperture he like you could probably use a um you know, like a neutral density filter yeah I'm just gonna just so I'm going to get you actually even just that that's perfect all right, so what I've just done now is that I've been just getting the exposure for the background okay, now what I'm going to do is I'm going to turn the flash on and um yeah, I just let this just and the fire of tee shots and I'm going to bring up the power off this all right? So all right no no that's good. So and then what I do is like um you know, I just sort of evaluating the background and thinking how different it is now what am I to is like just sort of coming, you know and wouldn't come over a little bit and now because yeah and so that's perfect so because I came got him to move over the light has to move over a cz well it's going to be exactly the same distance otherwise it's going to throw everything off all right that's right now what I want to do is like is that you can always create the light, so we'll say on the other the other line all right, so sometimes like, you know, like he may not have like an exciting background so then we might want to just sort of use like uh like an additional light as well so and I'm gonna put this on full power, right? And I'm just going to extend it so I I love the the man friday like nano stands and it's so cold like middle and and I'm going to extend this out now I'm going to just get someone tio come and hold this won't be one second so we got now it's like an overcast day anyway so but let's like create the son and if you want to come in and just hold it so making sure that the park it was it's on and everything and then we just do a test now I'm gonna get you to come in for yet kate does like that that's it? Yeah all right, so what? We're going to do it and we couldn't be out to take part of this out during photoshopped um is that we have like that flash and we just sort of test so what I wanted tio isthe just spring that flash down all right? And then I'm going to get you to tryto angle that about they're only just got back just a little bit a little bit more many and then you're single the flash towards me yeah, so the reason why I want the flash towards me, um, is that I want to try to create, like, a, like a sun flare, like, like into the into the camera. Barrow. So just come up and in a little bit, but higher yet, so just stretch your arms out. Yeah, yeah, that's it, and then just a little twist. Yeah, that's it. All right, so the it's not exactly happening exactly the way I want, and sometimes that's gonna happen, you know, and, uh, rather than sort of, you know, pursue it and keep going. But what I wanted to show you and demonstrate is that, like, you know, if you haven't got the light, you can always create the light, you know, and sometimes on location, you can easily do that by bringing assistant through.

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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