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Wedding Photojournalism

Lesson 23 of 34

10:00 am - The First Edit Part II

 

Wedding Photojournalism

Lesson 23 of 34

10:00 am - The First Edit Part II

 

Lesson Info

10:00 am - The First Edit Part II

in terms of software. Let's see, Art Rockville is wondering when you are importing the images. What preview mode? Are you important? Are you doing Wonder One? Actually, no, I don't. You know, I've tried and I've read that 11 is for doing the edit. I do build standard size previews. I'll pull them in, Um, and I'll, you know, usually, if I don't have it, import them with standard size previews. I will select all Goto Library. I don't have it build render standard size previews and it does take a while. But it's worth it. Because if I don't do that, Maryland will be like, Why is it going so slowly loading the sharp version of the image when it comes to a 11 previews? I actually haven't noticed a really big difference in the amount of time it takes in developed mode for it to go from this to that. I mean, right now it's going pretty quickly cause I've already kind of gone through everything but for its ago from saying loading Teoh this pixelated version into the sharp version, I haven't re...

ally noticed a really big difference after building one. The one previews maybe somebody else has, but it's still just takes Justus Long. I'm you know, I don't build the 11 previous and the software that we use this strictly light room, right? Yeah. We use light room, and then we use photo shop. Um, you know, I heard great things about photo mechanic as well. It is a fast program. I have used it. And, um, it's Yeah, it's worth taking a look at, um, I like using light room because it keeps everything in the same place because, you know, our catalogue. This is not because this is Joe's laptop, right? But we throw all of our weddings into one catalogue. And the reason we do that is because when I build a catalogue at home and I bring in my images, if I've tweaked any of them, I could just throw my catalogue into this one, import it, and then you have my adjustments. All right, there. So, um, so, Yeah, I just like keeping it all in light room. It's much simply for our studio anyway. Okay, great. Thank you so much. And we probably keep going. We were wondering if maybe you could keep the made a data open so we could see all the different settings. You over here? Sure. I remind a lot of that's up here as well. Thank you. Um, trying to see if there's anything over here. That's not I mean, dimensions would be there but captured time, I suppose. But yeah, you can see which camera it was D 800 versus, you know, whatever. But you have no problem. Let's do that. Keep going. Just pick out a couple of these little moments here. Let's say we got I'm looking nice, you know? And then we got him right here. So again, under exposed just a little bit, it'll work out later, and it's also kind of green. But as far sharpness is concerned, this is gonna be nice and sharp. I can tell just because I've seen it already, but don't forget it. We're not gonna wait for that. There's another nice one of him. That's cute. Is this from Were you shooting this? Yeah, that Joe likes to shoot sometimes just right off the hip doesn't even have to look through it. She was not really cool. Moments address. This will be brought down a little bit using the recovery. Uh huh. That's a nice angle. Yeah, I think. Yeah, I think we got it. Usually is. He's a really sweet, really nice light on that too. Hello? Alosha Leah. Okay, Um, yeah, not really. You know, so you can see a little bit of what we're working with here. We have cables going up the stairs, little signs and stuff. So, no, we're not going to include those. But, you know, you get selective about how to get clutter out of the shot. That's kind of a big part of the whole thing I love said this one. No, There's another one here. Coming up. Pretty sure you got another one? Yeah, we used a couple of these. Wait a second. Well, there is another shot from this segment. That is, this is the blurred version. I know I have the other and somehow must have gotten moved. I didn't put it back in, but this one is There's a one of that is really cool. Okay, why not get him with the host again? A little bright, But it's in the range of with Rock and Dio, So we'll be all right when outside you can see the rain a little bit here. Yeah, I'm probably gonna keep those there were knocking on the windows, so we got a little thing going on here, and actually, this kind of lends itself to a black and white details. Got to get those that would look sharp hugging the makeup artist. I think she was going up to do the groom's makeup. So that'll be a fun little set up. I love surely his face. She's really She was so hilarious. He was so funny, This one also black and white. I think it will be really cool black, because here's an example of where it really is gonna be difficult. This is green. This is so orange. Um, we're not really gonna want to spend too much time trying to balance out the light in a way that makes sense to the human eye. So I could really show you just really quickly have a preset. We're gonna do this in the next segment a bit more, but I have a black and white preset and you'll see it messes with my shadows. They bring him way up. Highlights come way down, blacks come way down contrast a little bit. Don't mess with this here. I typically add a little bit of sharpness to the blacks, black and white images, a little bit of noise reduction. But actually that turned out pretty good just right off the bat. But you'll see more of that stuff in the next. That's a black and white conversion for you rooms, dressing room, and this may be cropped in a little later. Just bring it down to this kind of area here. I'm never gonna be able to sit in the studio and do this without a camera crew. This was This is so much fun. I'm usually just down there me and my coffee, huh? And NPR news keeping me going. So the groom who was the makeup artist was saying In this moment she goes, I hear you have a lot of shoes. Apparently, death has a lot of shoot, and I was like, Well, then I got to get his shoes and they are pretty so, interestingly enough, what we tend to do at every wedding is we also listen to the stories and the banter back and forth between their friends in the bridegroom and then we take note because some of these things do pop up like this. Like if this is important, you know, I hear like that little piece that when he's getting ready, is really important to him that it's it's a crow or whatever little thing. And he's all about crows. And I'm mindful to remember to incorporate that as he's adjusting his thing in the mirror that the crows on the side of him, you know and included. So you got to keep your ears open as well. You know, when you're shooting, go ahead, tell your wife so that she doesn't accidentally call something out. That is Yeah, yeah, there's times when when? When I hear there's something special that I incorporated, I let Maryland No. Okay, there's going to be something really important that we got to keep in. Yeah, I let her know. Yeah, and he'll always come down to take a look at the edit after we've gone through it a couple times. And if he goes way, whatever I wanted, it's not like we delete anything. You know, we keep the raw. So, by the way, in my contract, it states that after two years If you don't pick up the files, they're gone. They're not. They're not. We keep way. Have drove bows that we just store. We stack them. We just bought a new Drogba where we keep that separately in a different area. Eso in the studios. One drove. Oh, and then we mirror on another drove or the same images. Put that upstairs in a safe in our apartment. It's an awesome system. I don't know if you guys know drove, oh, system at all, but that's essentially four hard drives. That's 80. A hard drives you can put in. You only get two of the four because the other two are mirroring the other two. So if one drive fails, you always have a backup on another drive. It's really cool. All in one big box on Ben. Like you said, we used to burn raw files to disk like really took forever. Especially once I got D 800 you got Mark three. The final Just get 30 40 megabytes piece. It's their insane. Actually, that's that's called. That's like a compressed version of the files because I know my camera and aggressively 75 megabytes piece anyway, so I was like, We gotta get another drove. Oh, so we did, Was we? All I do is I set up the other drug on a second computer. I load all the cards on the first computer. And then while I'm starting the edit and starting the preview building, I'll bring the cards over to the other computer. Hook up. The other drove, Oh, have them load while I'm working over here. And then, like we said, we're going to take the second robo upstairs to a second location, just in case there's like a flood. Yeah, flood. Because we're beginning level, it's easier to break in. And upstairs where we are, right? My studios, the bottom apartment. Then there's a middle apartment where some other people live, and then we're upstairs. Above that, we're on the the third level. It's a triplex, and so it's easier for me to go to work for us, is used to have a studio in Beverly Hills because it used to be all about location. So clients in Beverly Hills say, If this guy's in Beverly Hills has got to be good, it's not always true, right, But it's location, location, location now the locations, the Internet. So it really matters not where I am any more than they could care less than I'm in Beverly Hills or where I am now. But so it's easier for me to have the studio space in my home space because we literally walked downstairs who are not coffee and we're at work. We don't have to go anywhere. Our clients come downstairs, you know, it's really nice. It's a nice little space. I should probably just mention this now. Usually, I'm pretty sure when Maryland does the edit. It's not mixed in with your stuff, my stuff, your stuff, because this would drive her crazy. And it's starting to drive me a little nuts. We have separate folders where we put originals and then we put Joe. Right now I have this set up for presentation, right? We have originals and we'll have Joe and Rich and so she can just go from 11 following another and just look at you know, So it's true. That's that's that's and then the second edit we do, we do it together and we make sure that they're all in order in a way that is not the first and not the first that it like I'm doing right here. But, hey, you know, just a disclaimer. Not exactly how we do it, but it's very, very close. And, you know, you're seeing the rating system anyway, So see, I've lost my spot. Let's get back over here. I love this mouse. A lot of people can't stand it. I don't know why I love this thing. It's just so easy to use a little scroll wheel over as a needle to thread its Bluetooth and you'll see it. See it later. Being used in, um, the brush tool that I have is just so easy. Teoh change the size of the brush really quickly, right? So here we are. I love, by the way, the stuff you were getting under the dress, and I don't know if you noticed I take liberty with that 14 millimeter. I don't look, it's literally off. My shoe tops its underneath. I get a rough idea because I've been doing it for a while where I want to shoot with the hands with the spray cans. I knew that I was going to get that. It's gonna be a lovely shot. That was pretty cool. Yeah. So that was a cool moment because you were watching you. That was live. Yeah. So we watched. You had your hand way down, just like going like this. And I was like, she wasn't in the dress, which I do. You know, I've been known to shoot them in the dress like that as they're getting into the dress and get very interesting photos way, Mark those. That's what I'm sorry. That's what five is. Five is not for your portfolio. Five star for private images. So because when we go to proves will give the proofs to pick Taj, I'll upload them. But we don't want them to upload any private images. Yeah, because there's sometimes that I do boudoir. Oh, yes. Stuff. I mean, just about everyone. Yeah. So I don't put those online. I keep that separate, and it's a private disk that they get for just themselves. And you won't see them here today, right? So sorry on. That's just the way it is. That's just the way. So those air fives and then they get pulled. Exactly. Then we pull them out. We put them on a separate disk. The client is the only person who gets that desk in market privates. That kind of thing. So I was having fun with this guy. He was using the Dixie Cup to collect the rainwater, so I had to get a couple shots of that because it's just silly to me. Okay, A little hot lips, a little hot, but these air also still within the range. Aiken, make these work out. If I want to keep it in color, I can. I could also do black and white. Maybe his expression isn't worth it, So never mind. But, you know, actually, that one's not too bad. Yep. You see me just constantly using that 85 millimeter. Okay, so here we go. A lot of stuff going on with address. Oh, that's right. Yeah. So cool. Yeah, that's so cool. I dig that a lot, So we'll leave that and for sure. Um, hello. I don't know. Maybe I have to see how I don't either. I don't like it either, but that's one of those with together. That's kind of cool. That was kind of cool. See what's what. I don't know if you notice what's interesting is that we are very similar and what we like. That's because we're learning right about what the images for each of us is important, including, So if I'm not doing the end at Maryland, knows me and knows exactly what I like. And I want her input because she's a woman and she's editing for a woman. So, uh, but we're not far off. And there's times where I see three images because you know Meryl, so I don't know which which one of these you would have liked. So then I pick it right, right? I mean, it's OK to, you know, make mistakes now, because we're gonna It's better that you leave him in in the first edit than going to take him out and later be like, what happened. We're not even noticed that you took it out so you could be kind of liberal about Is it liberal, conservative liberal? You could be liberal about how you want that one. There was off my shoe tops again. Yeah, it's a little blurry, but it is cute. I mean, it's a little soft. It's a little once this loads if it ever does. This is you can tell just a slight blur. But this may be an image. A you can see right here. There it is, loaded up. It's a little soft, but its so cute that we may be able tow, you know, mess with it a little bit and keep it, you know, depending on whether or not we think the moments worth it. So I'll leave it in for right now. I love Maryland. Take a look at a later. Come on over. She's like, you know, I just got my dress on. All right. Sorry. I'm not sure we're gonna keep that one, but hey, it was cute. It is cute. Yeah, OK, ok, sure. There we go. That's a cue in there like that. Oh, that's very sweet. Yes, that z e All right, we I think we get into somewhere silly antics with them. OK? Had to get a shot of some of the crew I had. Teoh. I was just like this is to fund their part of it. So by the way, it's when I see video. Sometimes I include them in my shots because everything is fair game at a wedding s o. I try not Teoh eliminate too much because and even though it so here's what I do. Sometimes I get this feeling, you know, that is a matter of fact. The last wedding I was at, they had six videographers. Countem six and I'm there and I'm basically the only one shooting and their six videographers. And at one point I got a shot with all six cameras in. And instead of getting ticked off because there's swallowing up real estate and they're in my shot, I included him. You want to see what the zoo was like? I'm gonna give you a slice of this moment right here for you toe. Remember later on. And it was a great shot. You six guys clamoring over the bride, looking up, having her eyes done. Six. Really, you need six cameras for that. OK is fine, so it becomes part of it, so you could easily get flustered. I hear a lot of people getting flustered because video gets into their way. Work around it were work around it or work. There's always another shot. There's always another shot. It's not. That's kind of how we do it that way. You don't get stressed out. If there's someone doing something, just go for it. They can have their moment to, and there's always something else to photograph. Because if you think about it, if you the photographer gets flustered because something is working you your mind set your heart all changes right cause you frustrated now, Now that frustration actually gets translated into the images. You may not know this, but you start having a kind of Ah, a comment about what you're shooting from there on by virtue of your frustration and you see that your choices, your selections and imagery changes a little. You're now ticked off and you're going to show it one way or another so it's easier to just get rid of that. It's their day doing own thing. You know? I'm serious. Go to the own place, work around it. I always tell video cause they're very cautious now with me. You know, they've never heard my name and it doesn't matter to me. They say, Hey, if we're ever in your wait No, no, no. If you're in my way, I'm gonna move. I'm gonna move. I just make it very easy. If I'm in your way please see if you can write right? So great to see your thought process behind not only shooting, editing and the final product for the client. And there's three final questions I want to throw out at both of you just to kind of round up the Colleen process that you go through of First of all, the entire Internet, the entire world is wondering How many images did you shoot together? Oh, hey, that's right here. Uh, C 6249 actually, you know what? Minus 170. So whatever, That would be about 66,000 You and you and I actually shot really close to the same number. About 3000. I think I got three more than you did. So typically, though, when we shoot, it's roughly 1500 each, right? It was a little more than I don't usually shoot just a little bit less than you did this time. And I usually shoot about 3000. It just depends on honestly, the number of images is very, very connected to how much dancing is involved. That's at least from my end, because when people are dancing, is getting really intense and you know you have. You have five hours of dancing instead of an hour and 1/2 of dancing. Then you're constantly just trying to get that one moment where everyone's dancing, looking good and no one's eyes air funny and no one's hand is in somebody else's face. And so you take a bunch more when people are moving around that much. It's just the nature of dancing and the reception type of state. So what you're saying is that at this reception there was a lot of dancing there. Waas honestly usually gigs that we do. I'm done after the first dance dry my time is up and then Rich stays for another 34 hours so he usually will get more images than me. But I stayed longer. That's right. This time just I usually don't get cake cutting. I'm usually done by first dance. OK, so you started with about 6000 images and then after you go through the first set and the second and it you do a final edit about how many of those I can tell you what Maryland. Yeah, I can tell you exactly what Maryland would do. She likes 100 per hour that we have both togethers, uh, from both of us. So she would knock this thing down to what, roughly 1600 images we'll know even holding anything about that, cause if it's how long were we shooting? For? About eight hours. Eight hours? So that it would be 800 each. Yeah, it will be 800 to 1200. Somewhere in there is probably what? And again it. Like I said, it depends on how many people are there and how much dancing. And, you know, crazy antics are involved and also depends on my interview with that client prior to the wedding that I get to find out I love photos. Okay, so this is gonna be a looser edit than normal. Or the client says to me, You know what? Give me the best. So we knock it down even more so I will give Maryland a heads up that this could be a tighter edit, or this should be a little looser. And I often say, you know what? Leave Mawr images in this one because the bride loves photography, and she wants to Seymour, so yeah, but say out of the 6000 we probably would give them about 1500 somewhere in there. Onda also same same goes for black and white images to if the client loves black and whites. Great. We do a little bit higher percentage of black and whites. They can always come back as a color cause in this case, we're shooting all digital. Right? When you shoot film, that's a little different. They don't go to color, but but yeah, for any color images to go to black and white, we can bring them back to color if they request it later. Saying, Hey, by the way, do you have this in color? But yeah, depending on the client will doom or less black and white, they say, I can't stand black and white, for example. Pretty much won't do any right? Yeah. So my question is, when you give a black and white, you just give just black or white but the colors available if they want it, that's that's more or less correct. Yeah, I mean, if there's like a image right next to another, we used to do it where we would give a color one, and then a black and white of the same. But the problem with that is when their proofing it when they're looking through the image, they're seeing the story in the rhythm of the whole thing. You don't want to see this image in black and white, and then this image in color, because it's like it's like it was the same camera. They should be both black and white or they should be both color, right? It's kind of jarring if the two images shot with the same lens, the same set up with one's colored ones back away. So we hope that the client just trusts our judgment on which ones go black and white and you'll see, like the way I've picked there, some images that really do just speak black and white, um, him getting his makeup on here. Where is it? Where is it? Where is it? A man? I must have gone here. Does these images here because there's a little bit of flaring going on. I mean, it's not it's not because color balancing it would be a pain in the butt. This image is black and white. It just speaks it to me whenever this loads up. I prefer this kind of thing in black. It's just because of the way the light flares up. It's just it's just buttery to may. I don't want it to be in color. Necessarily. Um, also images that are shot through windows. I know we have some right here, These images of them looking out when their first meeting, There's one in here that I really like somewhere I have fun with. Here we go, Here we go. So this image here it looks good and color. But you see the purples distracting me. Um, the orange appear This image is black and white because I love reflections in black and white. I think it looks so cool. And Maryland Zone and talk talk with that stuff like she's, she picks it this way. Some people believe that's one there and that. Cool, that's I don't think this is yours. Yes, but yeah, black and white. This image is just suited for it. So again, we hope that decline. Trust our judgment. If they don't, it's like a two step process. Have at last question. Before we had to break that last of the three part question. How much time from 6000 to 1500. How much time will you spend calling? I mean, Maryland does this in one day. Is she literally? Well, let's back up for a second. The first edit, she doesn't. One day, Right? So one day, Maryland, she'll come in in the morning at nine o'clock. By two. PM, she's done editing her first edit, then rich gas from and converts. Those does the cleanup on him, right? Yeah. Yeah. I'd say the for the first edit, depending on how much coffee you have continued. Take, like, 2.5 3 hours, maybe to get through. I mean, maybe a little bit longer for both photographers. Maybe four hours. So she spends about. But then the second edit like supplies, 1/4 of the speed, you can do it. And how long does it take you, then to take one wedding to take the raws color? Correct. Now, that's a few days. I mean, not feud. Not like you know what he's doing. 55 or six hour days. I typically don't work longer than five hours. When I'm sitting in front of a computer, I go nuts. Um, and you know, it's just it's just how you arranged it to works out. I sit there, I just get into the processing and the all this, you know, the brush and brush tool and exposures and all that, and I'll go through them for about five hours at a time. And it takes me, I think, two days of five hours, five or six hours for a wedding about this size. If we shoot this much, Um, yeah, to five hour days to do all the color correction. And then at the end of the second day, I'll set it up to export, and then I'll leave. So the computers doing all the exporting to J pegs on Ben. The next day I come in and I could burn the disks, and I do the wow images like I was talking about those extra photo shops that will do later. I'll do those right before I bring them T J birds a disk. And then that's it. Yeah, about, um, if there's three photographers and we have a three day shoot like the one in Mexico that we just did that takes significantly longer, you know, my window from finishing the wedding to the climb, picking up or getting their images on pick. Taj is four weeks in the busy season. I asked for six weeks. I need a little cushion, but we typically get in four weeks within four weeks. Easy, easy, and he's not full time with me. He's there two days a week. You want to read? You did three days a week. That's all Rich works well because you're shooting on the weekends to go and then right up and then I have to work on them at home. So, yeah, it's, uh, that's still a lot of work. Thank you so much, both of you, for sharing so much incredible insight. It's a really wonderful learning process for everybody people out here.

Class Description

Learn everything you need to know about telling a gorgeous wedding story from start to finish using photojournalism techniques. Award-winning photographer Joe Buissink will guide you through the process as he shoots a longtime creativeLIVE employee’s real wedding, live and in real time.

This three-and-a-half day course will begin with Joe posing, lighting, and shooting every step of this creativeLIVE family wedding — right before your eyes. You’ll have a front row seat as you watch Joe’s unique style in action as he deftly captures the portraits his client expects while still documenting the overall chorus of emotion throughout the day.

After the newlyweds head off to their honeymoon, Joe will explain why he made certain lighting, posing, and angle choices during the ceremony. You’ll learn his techniques, workflow, and on-the-fly tricks for dealing with unexpected developments. This intimate, interactive experience will invite you into the creativeLIVE family and empower you to photograph weddings with the eye of a photojournalist

Reviews

Carlos Zaldivar
 

Joe Buissink, Thank you for share your out of this world wedding photography its be on great,I just love it. I look up to you every day I do a wedding. I have yet to meet you but some day I will. I took conclave in April 2013 and wished you would have been there. My favorite wedding photographer is Denis Reggie which has become a friend I just love his work also. Between you and him both of you I look up to and hope some day I can be as great of a photographer just like the both of you. I just love to be a wedding photographer. Thank you for share such great information and course. Carlos Zaldivar Carlos Zaldivar photographers www.carlos-zaldivar.com

Jessica Lindsay-Sonkin
 

This is one of the more slower-paced courses I have taken on Creative Live. I ended up watching the videos over a span of about 4 months, but enjoyed every moment of it. Watching Joe and Rich work is a beautiful dance. I love Joe's philosophy and he instills a calm spark in all that he does. The way he looks at angles, approaches situation and works with his clients is mesmerizing. I highly recommend this course if you are looking to be inspired by wonderful philosophy and to gain valuable insight through watching a master in action.