Wedding Photography

Lesson 10 of 17

Shoot: Reception

 

Wedding Photography

Lesson 10 of 17

Shoot: Reception

 

Lesson Info

Shoot: Reception

I'm just going to do a more wreak happened a couple of the things that happened in their last session is that other than when I was talking teo you know, to the green today to get that initial shot and a very, very small little bit of maybe just sort of eye contact, you know, with the broad and the dad that it's all very funny generalistic the completely photojournalist take up until the point I did that family for it, you know? I mean, I know it didn't appear that way like as we're doing it, but I just want to let you know that is exactly what happens. Is that it's all for a journalistic? So one of the things that you would have also notices that it was only me there was no assistant there was a nice second photographer and did you notice how many places I got around to to be able to get all the shots and to tell that story and that's k now one of the things is that some really great advantages of having a having one photographer at the wedding? You know? And I know that like a lot of...

studios, you know, sell the idea of having two photographers, you know, so for me is that like there's less people walking around that ceremony and invading or people noticing that this photographers around and so that's one of the key reasons why I shoot a lot of the wedding's by myself now of course is exceptions to the rule sometimes I might be doing a wedding where there's two hundred two hundred fifty gas or more you know in that case I really do need a second photographer so I'll pull someone very experienced from the studio to come and help me shoot that wedding and they so role is just to shoot you know what I mean it's not to carry my bag go look after my equipment I do that all myself and like I said I just have most of it on me I have a tiny little bag I have backup equipment in the car so make sure you go back teo you know yesterday's you know talk in that way you can see the equipment I was using in the back up and actually that's what you know that gregg gillis tits for as well so you could see that a swell so today is really sided you know we've got a great reception I'm going to just start by doing a couple of details now there is room is that may be any veteran is on his way here to seeing a personal song to this couple so we'll see what happens in that but say so stay chained already so what we're gonna tio is that we're gonna look at details okay so and uh you know what before we do that like I'm not that you can see this but the couple are outside and having this most amazing moment so well either that or that I think they're having an argument so so oh seem now they're sprung me you know, I mean so now you know, like, you know, pretend you know like, you know, doing anything but then going back to exactly what they're doing so and that's the thing you said sort of attend anyway and that's me see and then like, you know, like you looking at the table, you sort of not being conscious and then you're thinking about your camera getting ready and then like now I just got to check my exposure because of stress I haven't even checked it I wasn't even thinking about it because I was really concentrating on the moment and we didn't know playing this I just sort of wanted to point out is that this is what you're gonna look for it was exactly like, you know, like the ceremony as well. So you look at that head contact the you know, the touch and we could just sort of analyze this forever, but you know what we're gonna do this tomorrow we're gonna be outside shooting, we've ordered some sunshine and that's what we're going to do tomorrow and a couple just naturally reacting so let's have a look that's like a look at the details and I'm just thinking you know I just got to get a couple shots I'm just going to just make you know like getting nice and close thinking about my exposure maybe my composition and just sort of looking and you know, I probably got like maybe five minutes to do this um and so I just sort of like got through think about what I'm gonna do and then I want to show you a couple of lenses so I have my bag just over here and uh just going to quickly put my camera down let's first off put the five yuan what I love about the nikon is that you can just push in the sides and it's just going to come off so you can actually use one hand so let's, we're now we're going to go down to one point four and make sure that the uh the manual focus is off and now we can just see what the difference is like having a look we might even look through see what that looks like and we go you know, like looks all right but you know, just sort of playing and then coming back and then you see like at one point for just like everything just comes out of focus I'm gonna just change my angle and you know what is like, I'm talking to myself and I'm chances are I'm actually doing this on the wedding day in my own mind about what I'm doing the details is that I'm just going to sort of like I told myself, you know yeah let's do that let's adjust that let's try that sort of side and just sort of think about it you know and just sort of evaluating just got to get my eye and I know that I've got to just sort of get a wide shot so I can still keep it it like at one point before I got to get that whole table and then you sort of start to see you know, reflections and might try something different coming to be closer because you sort of see another vantage point anyway, you sort of get the idea so let me just like a change lenses so let's sort of like uh so that lens that I made you know me I said, you know, all right, so this has gotten a contact points and the idea of the way this lens work um is that you just sort of adjusted so you gotta look through and you just get this sort of like it's like a torture if you know like a nice softness, you know, I just sort of you know, nick now like we're sort of manually focusing and you know what, I'm still liking a navy mode, okay so why don't we go back and ask some questions about the previous section, too? Because I'm not sure if we've gotten enough into this tow have questions coming up? Is that okay with you? Wait for the chattering to get reconnected, okay? Quite a few people had asked this before earlier maverick coach had asked when you're taking the kiss the bride shot or, you know, some of the most important shots in the wedding. A lot of other people or relatives jump up to take that shot as well. And there have been other questions about other people getting in your way or uncle john standing up. How do you deal with all of those problems? Ok, so one of the tools that you can have is really be patient, you know? I mean, like, sometimes things are out of control, but if you can preempt that and experience really will tell you what it is that you can leave position, you know, sometimes you have to get inside. So someone's moved in front of you. Maybe you have to go back to the back of the a pew and stand on something something where someone's going to know that you're not gonna see you and just in case. You know, fall off or anything like that, you know is like you could uh you can just get away with it and you're gonna be shooting over people's heads so, you know, just like, think about different vantage point, you know, like, you know, I saw upstairs, you know, immediately went upstairs. So so it was just another option. So, uh, you just gotta overcome and having patients being calm, stay calm and get through it. Destiny don saying, what do you do when you have a receiving line? Do you do the group shots afterwards afterwards? Or do you have any tips for doing receiving line of perfect receiving lines is amazing, you know, like, you know, that's what you want, it's, what all the emotion is coming from, like the excitement you want to be at a capture that you know you want to, like, think in and out of way you should be in that receiving line sometimes, like you might be right up front and then you follow the the bride and groom backwards and just step with them and keep going the way obviously to you know, the videographer is going probably want that shot too, but remember, you know, like I had to say about you going to just yet there and being a position first you know, I mean, because if you can back yourself and I know the shots that I'm going to get that's where I deserve to pay, I deserve to be getting my shots because I know how to capture well, there was a question that had come in earlier from judy be photography about saying that your shutter click was actually louder than you ever were. People were saying you were so stealthy that all they heard from you was the shutter click. And do you ever find that when your image quiet church that that that is obnoxious or how do you have you have? Yep, suddenly, like it's something like sometimes I will go to silent might, you know, no mean and, like, use the quieter mode, you know, and just go with that and maybe she's just a little bit less, a little bit more conscious. Also again, you'd be conscious about when you're shooting, because what will happen is if there's a funny moment ride and someone's laughing and everything like that, then they're not going to hear the shutter. They're not going to be distracted, but if it was like so, so quiet and then you take shot and after shot after shot. People going to become really conscious of you so it's a really great point and you have to control yourself and actually say you know what? I'm not going to take these images just yet I'm going away to something happens and then take them and then people are going to be so but it's good you know and it is something that I've really noticed and because they think because a lot of people taking pictures with iphones and compacts that it now silent people will get becoming more conscious off the sound of a d list you're highly aware what everyone did say that you were absolute stealth bomber in there so how could they were like wow, he is the swan it's impressive um adams hollingsworth has a sight more technical question what focus mode you use for following the bride you do serve already would do one shot I do always one shot you know I don't discount you know survive because like it's just said I'm I just don't shoot that way but I know other people do and they love it I just don't I just keep like re focusing and refocusing I'm using that back but in you know and I'm also I do move dad focusing point around as well so you know definitely and that's what I love about the defour's that they you know they put that extra knob you know in the back of the camera you know, so I can actually move that around even easier than I do, I guess because it was nice because, like, I had that with the cannon and now have it with the night on, there was a question from melissa h who asked when she has couples that want fifty plus family arrangements, people saying, oh, can we do this? Can we do that? You have that happen? And how do you get in charge of that? All right, so this sudden situations that you got to understand is that it could still be a great opportunity to get really beautiful moments. So what happens is that we've got to be thinking on the fly and and look, remember how? Like I said, like, you know, just after the family shot, this generally are really lovely shot, so you know, that could be fifty great opportunities to get shots like that, and not to be thinking that you're going to be bogged down doing that shots. Now, as long as the bride and groom are in their shots, you should be taking ourselves. If the bride and groom aren't in those shots. That's where you should have a second photographer doing that shots, you know, I mean, because your focus should be the bride and groom. You know, I mean, so it just depends how there's a lot of there is a lot to that, you know, the questions, there's a lot of ifs and, you know, look for the opportunity. Um, barrett's hollis says when you shoot a wedding in a church where you can't use flash send, you don't use it anyway, and they're terrible lamps over brides like a lot of overhead light that gives those shadows under the eyes, how do you deal with that? You're over exposed so you what you're gonna do is like, you're going to slightly over, expose what you normally would do, and that will just sort of blend through the lighting, which would be great. So what's what's the situation okay, that's really good. All right, I can't drag, all right? So you guys can come and sit down, and what I'm gonna do is because you're not seeing the sexiness of this lands, I'm just going to take it off, and we'll use this lends tomorrow so you'll be able to see and yeah, twenty forty, seventeen that's. Great. All right, so, you know, at this point like it in my very, you know, like I may have changed over to the, you know, the eighty five mil in thirty five mil is fixed vocal links on my cameras, but you know, I'm just going to stay with the seventy two, two hundred twenty four to seventy because I think if you're starting out, this should be the bare basics that you should have. I think you should have these lenses. You don't have to worry about the eighty five one point four, even though it is a beautiful lands that should be your next purchase, but always strived to, you know, improve your gear. So now we're just sort of waiting for the bride and groom and, you know, they're still having a moment outside, and so we could be, you know, out there concentrating, you know, doing doing a shot. But, you know, we just these guys were just chatting and everything like that enjoying themselves, and so they're just having fun. And so it's it is something like, you know, that we would just sort of capture, you know, in one part of that, is it? I immediately adjusted my exposure as well, okay says all right, so it's, just like just adjusting with shots were good for them to come in. No, no, I would have run the other way, but I got the codes. First I'd like to thank everybody who came this has really been a special event for us we've enjoyed it very much on especially to all of you helped us put it together we enjoy that adam I'd like to welcome you to the family the love and devotion that you shown careless just immeasurable um we have loved you as you've gone to gotten to know us and you become part of this family and to continue that relationship in the future we're just thrilled I really appreciate it love the way you take care of kim and you keep her happy and encourage her and support her and the things she does it's wonderful to have you part of the family cam it it's a it was tough thinking about things to say I was thinking about starting from birth I figured that it take a little too long but you have grown up such a wonderful woman we're so proud of the way you've gone about the way you doing your life how you progressed that various phases from athletics to scholarship so looking for a man to share your life with has been wonderful you've made us proud and we're just thrilled that you continue to be part of our lives and even moving indication e ah I'm a mom's best friend best man and uh I moved into town when we were in seventh grade and I were looking upto him he had all these like slayer posters on the wall just like us s so sweet, sweet ribs is just a little yeah, he had a mullet with hair down to his took us comas, hair and a cz just a lot of fun, you know, I've always looked up to him and, you know, we always compute in sports and girls and everything, and you know, you got that one. So congratulations, man. Congratulations, kim. I just want to say, kim, um, I just I love the world that you live in, and I love that you're in my world and all the joy that you bring, teo, everyone around you and you really have, you know, where your family you've touched us every day, and I I couldn't have dreamt up a person like you, not in my wildest dreams, and I am so glad that you exist. I'm so glad you take me along in the way that you think about the world. Um, and you found such a perfect complement, tio here traits and you guys have created a special life together. The bet I look up, teo and I I want to continue being a part of every day, and I'm so glad that you include us in all of these wonderful experience, like on, and I just when you were reading your vows today I couldn't help but think about the first time you read them to each other and how you met every word and you lived every word that you read to each other every day of your life and your relationship could be more and I'm so glad you're together okay? You can get great well um thank you oh, I don't even know what to say I feel like a real bride I mean really um I'm just so thankful that you are all here and supporting us in this fun adventure and I'm really just think, well, I get to call you my family and that we get to just ride this adventure of amazing life together and I love you and thank you so much for oh, just everything all these ten years of wonderful life that we have gotten into many, many for what you have described it okay, that was amazing you're so cool that was a better wedding than most weddings I've been tio we're sitting here just amazed at like, good the genuine emotion that you guys clearly feel for each other, so that was great, thank you and I'm trying I'm trying to explain to people around the world why you were crying and why you're being emotional, these people actors that you really understand e no, they're not acting they're reenacting nice job, yes definitely so uh markets go ahead and talk about you know what you were thinking what were you doing all through that that second what we're focusing on me let me put these damn for just a second fluent um yeah from how much fun was that? You know, nothing is amazing what a buzz you know that's what like I get like like people say these speeches and do these toasts and just say the most beautiful wonderful things and I don't happen very often any happened on a day like today and, uh I think that's what's really super important you know is that this is why we went through yesterday is that this is a privilege of what we get to do is, like, capture their memories like the way they you know, they relate to each other the way they connect, what they mean you know what I mean? You got to think about it from everyone's perspective I mean, you know, think of kim's dad and the way he's like, you know, watched her grow up and look at how proud he is you know, if if if you're a time and you've got children right, then you understand that you know, you understand it, but if you don't have children you've got to think of and connect with something else, so you do understand it you know me because it will make you a better photographer to understand the actual importance of what it means today, you know, for kim's dad to be here and to say those words, you know, and that goes across the board everyone that here at this table is it is all connected, and now they were two separate communities with lots of little individuals and now their one, you know, the meaning and today's a celebration and that's what I love uh, so going through what happened? All right, it was so quick, you know? I mean, it was very quick, you know, that's the thing used that you got to be ready for it, you know, as soon as it happening and it just floyd, I was expecting timeouts and you know, this may happen over a couple hours. Um and I guess that's the only thing that I would say is that you've got to be ready for one thing that just all these things happened that normally even don't happen and sometimes do happen, which were just amazing, but one of the things that are wanted, um, so you often now, when the meals are being swapped over and being served is that people getting up from one side of the room, going over and going up to the dad and saying that was beautiful. That was just an amazing speech and that might be his dad's best friend you don't know and so when you go take that image of that congratulations and that camaraderie is that that's really special you know, for kim's dad you know I mean that's like, you know it's something that he never ever anticipated on his weddings daughter's wedding that he would get an image like that it's like a gift, you know, and that's like so many other moments that were able to capture is that, you know, people aren't expecting these brides become the expert about the wedding after the day and that's why we go and it's a it's a tough gig, you know, it's like to educate the client you know, beforehand and explain this is what we're going to do all these amazing things are gonna happen I'm going to be there to capture, you know, I mean, the couple was not thinking that often couples you know, I am fortunate a lot of couples that you know, I love photography and the very particular and that's where I get to photograph those weddings, but there is a lot of people out there where they're thinking it's just another expense wedding photography is just another expense, but now I think if you asked the parents off when they see these images would it be just another expense or would they have spend anything in the world to be able to have those moments captured and you'd be really, really surprised whether here so the techniques amusing is that like a I'm watching the moments are watching the moments and then I'm looking at my exposure you know, I'm changing that exposure mode compensation you know, multiple times throughout I'm checking the back of the camera when I can you don't mean that the cameras are pretty good you khun you can be off you know? I mean, it was a few exposures that I was definitely off in a couple there was a couple moments that I missed a swell that I just saw that's beautiful and that's one of the things that you know like is that you can get like there was a couple times I was genuinely laughing you know? And because and I get and you know, like I sort of you gotta be involved but there's a point where I got to go back to the cameron be focused so you you know, like you've already made that connection you don't mean and so you are going to laugh but don't laugh and forget to take the shot as well remember you take the shot okay? So maybe this question because it was so much happening like it's so hard to explain to the audience yeah, they're getting up to get their move their food are you making use of that time? You know what? Like, you know what? Like when we were still talking right? Like, you know, like it was again it was all these great moments because they thought they are you know, we're being photographed anymore or was and all this natural things happen and that's why I was photographing and then at the very end so a couple details details shots so I'm actually thinking details shots through the night as well and so like, I got the role of flowers along the middle and it's nice to have the hands and things like that on the side because it's reality so details shuts doesn't mean that it's a vacant room all the time. So yes, I think like, you know, there's always an opportunity like I said, you know, like, there might be a little flower gore a page boy and they're playing in the corner, you know mean because if their meals come out separately to all the adults, you know, they're not gonna randall they're going to sleep under title and things like that, you know, I mean then moments that you want to capture so that's what I mean and I re read all right is that there's always something to photograph on the wedding day there's never any downtime you know I mean what if you're going to get hungry is that like just put some snacks in your bag with someone like that some energy bars you know I don't care if I don't eat you don't mean if I started like even if it's an eighteen hour shifts twelve hour shift and I don't he you know as long as I need some water sometimes in heat but and even if I don't go to the toilet the whole day another sense carolyn some people are going at high we got what you don't know the toy and you don't drink indeed you know like what's this you know, this is a once in a lifetime opportunity for this couple you don't want to miss a moment you know me and often the only time that you can get to do those moments is when something significant is happening so just do rise above it see a challenge you overcome. So marcus question from hannah carter during the reception do you shoot while everyone is eating or do you take a break during that time that seems to be the only time when you could possibly have a break most you don't shoot while people are eating no you know what but like one of the things I've found is that you have to be careful with that because sometimes that they're eating but often the broad in green have already finished their meals and they roaming around the room and all of a sudden people stop what they're doing and hunt them. And so if you're thinking about aiding during that time again, you just lost interaction time, you know? I mean, and your ride, like people are eating, and I'm not gonna photograph people eating, but that's, what happened? Very good point it's like s tng from australia wonders marcus, do you have someone let him know of bride and groom's movements when you're not with them so that you don't miss the entrance? Um, just like, really here I am talking about drink and everything like that. A little cinema come really thursday, let's, let's. Go and get a lot of good. So the question was, do you have someone let you know of the bride and groom's movements when you are not with them so that you don't miss the entrance? Exactly. And so, you know, your best friend is gonna be the maitre d, you know, like the person who's running the shots. And, you know, like again, like, you know, like I did with the priest, I introduced myself say who I am. Let them know. Look, I wanted to do some details shots so that I can share that with you. And then, like, yeah, it's just sort of like, you know, that will let you know when you asked him, can you let me know when they arrive? But you also got to have a sense, and you also wouldn't know because of the planning sheet that you don't a swell so that's, right? So marcus, how often that kind of leads me to the question of how often do you work with wedding planners or people that are orchestrating the whole wedding that are telling you what's happening, giving a schedule and things like that versus you orchestrating the whole wedding? I would say about that at the time, like, I'm working with plants, you know, on and the great, like, you know, like, I love all the plan is that I work with the really fabulous, you know, liken I think what I love is that they always have the bride's best interests at heart, you know? And they're doing everything they can to make sure that day is amazing and, yeah, it's good and and like I said, yes, they are working with them as well, but I'll give them a guide and that's because I've built up relationships, I say, hey, you know, what can we do this because of that, you know? That's great I'm not sure who asked this question do you ever reposition the items on the table going back to the details you ever reposition the items on the table to get your details shot or do you just shoot them as they were laid out? Journalist ix journalist you know, definitely occasionally I would try to keep everything in position but you know a great friend jose villa amazing photographer he's gonna get on creative live at some time, you know and uh because he will go and you go out and reposition certain things and, you know, like the cake and get great shots and it's what he doesn't make for me I just you know, I was doing those details I'm just going to him really quickly I really probably only have five minutes you know, ten minutes mice I don't have too much of a luxury to do that, so if you have a second photographer and you're directing them to do that, maybe they could but I'll get the the name cards together, put them together and get a shot like that always remember where everything goes back, you know? I mean, otherwise you're really upset some planets yeah doctor another question yes, you were talking about how it's nice for you to have a flash we don't often use it does that apply for receptions as well yeah, I tried it. Hardly ever use a flash. Okay, so but what I would tio sometimes it does get really dark and that's when I bring the flash out, especially when the dancing so, you know, if you go back to a few hundred richie's wedding, you know, like, you'll notice that I do a lot of the dragging the shadow, and so the flashes on manual cameras on manual I could be even using an exposure of upto one second or more and even just sort of moving the camera to get a bit of alive, but the actual flash becomes the main line. S o the actual dragging in the shutter just really is capturing the army allied, and that why you might just get a little bit of spoils in motion in that as well. So and you know what this is actually true to what happens is that once someone cuts the cake is that they actually always gently have a kiss afterwards, they have a kiss when they're cutting the cake because they feel like they have to and people were telling to do it. But once the once it's done, they'll naturally have a kids because there's something happens, and I don't know if it's a, you know. You know rule of the lord or whatever or you know somewhere but they have to do it or something but they do it you know I mean and he said the things that you got to observe and in nineteen years mental shoot list what generally happens on a wedding day is that these moments happen after the actual a real event of cutting the cake so and that's going toe like sort of just a real natural moment on guy took probably five or six different sorts of shots and I was occasionally like shooting the parents are shooting the whole scene I was then also shooting the cake at you know, two point eight where they were just kissing so that were in in focus that were out of focus I mean in the cake was in focus so and then just and then swapped it around one of the things that I might even mention about before is I don't shoot for an album typically but I don't disregard it eva so there was times during the speeches when the matron of honor in the groomsmen we're doing this speech I went back to the same angle to do like sort of I guess you would call like a photo journalistic portrait off them while they're talking you know I mean and so it was a cropped or you know, frame the same so in an album it could look really great together so you know why I'm like really consciously going to go out and shoot for an album like I said when I had my wedding photographer that's what they did and it means shot for an album and like every page is laid out, there was no candidates, no spontaneity and so here you know, it's just sort of like I'm not really conscious about shooting, but then like, I just you know, I'm not going to discount it even I'm going to still think, you know that well look good, so just do that. All right? So let's some, you know what? Why don't we, um, do the first dance just in the sense of that just in the center? All right, I think we're good does great. Whom? Roddy okay, so yeah, so like, I mean, I just continuing tio think about angles while they're dancing, you would have noticed that I moved around the back I was using say, you know, two people are couple to shoot through, and the reason why I was doing that is for framing, you know, because they're on looking at, you know, the wowing and then you would have noticed tio naturally again congratulating so you know, sometimes, you know, like they could be actually need you each other three or four times throughout the day and even know like I really was disappointed with myself that I didn't get all the shops I wanted when they're doing the congratulating at the ceremony you know what I mean now I've got my opportunity to get it again you know, no means so remember don't beat myself are just think about it's another important aspect of god today, right? Okay, we have some questions coming in one of them actually kind of related to what you just talked about photos by zoe from scotland says have you ever not taken a photograph in a really emotional moment because it felt too intrusive like a bride talking about the loss of her father for instance you know what? I'm going to show that image tomorrow um I will you know, it was really tough tio take this shot um, you know, like I was like had tears in my eyes when I was taking it um it was a reason why I didn't use flash I pre focused a walk straight past um took two shots and now that fortunately it was a story that just needed to be told andhra member eso touching, but if someone saw me taking a photo at that time um yeah, I just don't think it would it would have looked really terrible so mark is a lot of people are asking and saying that most of the wedding receptions they dio are at night or in very dark halls things like that is the only difference thing that you would change is your ice so that the only thing really and maybe the lenses so maybe I would have gone to the eighty five in the thirty five mil lenses um now I just feel at this time now sometimes like I am there is lighting um and we went up to him like that today but sometimes there's lighting from the videographer or from the deejay or something like that and it's sort of acting as a spotlight and it's sort of nice to be out of use that is like a backlight you know me and you can get some really great effects like, you know especially just using manual and if you used flash or killed that whole atmosphere now there is times to use flash um, you know, maybe during the dancing and things like that because people are busy in there not really now conscious other times of the day that people are really conscious so I'm not anti anti flash, you know, I do still have it in my bag is it if I need to you know and yeah, just do it on do some hopefully tomorrow like just even in daylight like doing some off camera faster okay, perfect that you kind of ah hit on the next question that I have, which is from our bp productions asking about how you deal with videographers, how you work with them and get the point across about working together as a team. How do you I think one thing is that I'm gently really relaxed on dh just come so you know what? I'm not going to make a fuss on the day if they're getting in the way or anything like that generally like, you know what? Videographers like I found I have a great deal of respect more now than I found a few years ago, I think they're starting to get it they're understanding I might say to them, look, you know, like, I'll check with them where they're going to set up a tripod and things like that because some people just think, well, you know what? I'll set up a tripod halfway down and also, you know, could you put their tripod at the back and use a long lens and I go really yeah, the reason why I want to get a nice shot for, you know, and you will still get the same result and they go ok, they're reluctant, but they'll do it, you know, I mean it's very red that, like, you know, like, oh, oh ever have any problems with videographers? You know, like this this amazing ones around, they're really great so way have come across some issues and problems all right? Um one of the ones that I talked about yesterday, where he got into the face of the bride and said, when you're going to get ready, so no, we worked with some really great cruz and, you know, we love working with them, and so I decided a few years ago, like let's bring in a video crew into our business, one that we were working together and be, I would agree, created a product that's different, you know, to what normally a videographer could do because they don't have access to the images by doing so, what we did is also we know that we can work together, we're working on the same team with the same ideas, and we also know howto toe work, I've also trained them. I've also trained them to look for these moments, be aware of the emotion, because sometimes they don't get that they don't see that, you know, you know, like that image of diana and one one of the australia's, best geographers or cinematographers was there at that wedding and no fault of his eye, he just didn't see that moment and didn't capture it. But I did that's my job that's my responsibility you know I mean but you know that's why I like, you know, bringing in a crew that like I'm managing and and then I'm looking after and I know and I can trust and we can work together that's why reported in so people like your home they can go into our web site and going into films and see examples off that they can also see that you know, dorothy and stanely one way you know, it was just it wasn't a video refuting doing it was just it was just austin as well and just another quick follow how many what percentage of your clients would like video for their well, you know, like I would say I don't like it's probably better fifty of the clients you know, I see these waves sometimes you know, geography is getting really important, you know? And then it's not you know and I think just is it's a different clientele sometimes I'll go and spend more money on a really great cinematography fire on dh not so much a photographer so you know, in one of the other reasons why it's really watch this space you know, I mean, you know, like I thought it would be a lot faster, you know, because I think this right? You know, cinematographers around that fantastic, amazing story telling like the thing is is that I would have thought that a lot of clients or people would have taken up that already but they haven't you know we're talking to them and understanding and so it's it's still there and you know in technology is changing to where you know you could you know pull a still off a video so that maybe one day is that I am videoing a wedding but with the idea of just pulling steals out you know who knows but I don't want to be ready for that change on dh not blindsided I think one of the best things that have happened to me when I came into the industry was that digital was just coming in and I jumped into its stride away and I had so many people like that I knew you know many years so it's not going to last you know digital not gonna last look at it now you know I said I was great you know alone all the time just a quick going back to the cake cutting do you give advice to the couple on how they should position themselves like placing the groom close to the light source or do you just do that one photo journalistically as well very rarely I would just do it prodigiously you know what because like what I find is like I just sort of see you know I didn't even get one shot at or are the bride and groom looking at the camera? You know I didn't want it down it doesn't matter because it becomes a sequence and it's telling a story and the whole lot is looks really great when and just quick follow up on that um you know you did you did talked about doing some more stylized setups, ramsey says when directing people for for creative editorial during a wedding have you ever had someone that does not want to cooperate and how do you handle those uncooperative people? Well, that's what's great about creative editorial is that like generally they're going to just be allowed to be themselves and we've also would have like in the planning stage talked about the style of images they like and if they a downloading sudden images, you know from our website and indicating and I will tell them what style that is and what we need to do and so forth so as well, I think they had a question in the in the room between yesterday and today I'm already noticing I'm thinking differently and looking for those moments it's awesome and it's what it's the overall idea you know and I just want to you know so people can go away and just learn and you know what it's just adding, you know what you're already doing is amazing it's fantastic and I mean, it's, just adding, you know, like, sun and sort of styles or things that you might not feel comfortable about. And then you just got these treasure troves of tools that you could just access. And again, it like it gives you more confidence. So you know what that's what's so important is having? Their confidence allows you to stay calm. You know, in deal with situations and get better results.

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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