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Wedding Photojournalism

Lesson 20 of 34

9:00 am - Joe's Gear Bag

 

Wedding Photojournalism

Lesson 20 of 34

9:00 am - Joe's Gear Bag

 

Lesson Info

9:00 am - Joe's Gear Bag

and it is my pleasure to welcome back to Creativelive job. Using Joe is an amazing photographer. He photographs weddings around the world and its sought after by many, many celebrity clients, and his celebrity clients call his work Fine art. In addition to Joe, we have his associate who has been working with him for six years, shooting by his side and also does all of his post processing work. So please welcome job using and Rich Proof. Good morning, everyone. Today I would like to start off with the people that I can't do this without. Besides Richard standing here. You'll get to see him today, meet him today and see what he does and what he does so well for me. But I would love to talk about some of the sponsors and just kind of like dispense with all of that. Um, cannon. I can't do without the gear. It's I shoot the cannon gear like it's part of my arm, my heart in my eye and it's all connected. I've gotten that comfortable with it. As you can see that the way that I shoot in p mode...

, Um, it's very easy for me to do because I know that system inside and out. So thank you, Canon, for being a sponsor of mine Graph e studio. I use graphics books exclusively. Um, I just want to give you a heads up if you guys become members. The Swatch book, the material swatch book that they give you actually is an amazing thing to show your clients because not only do you get covers, you get different styles of paper that you can print on, and it's it's an amazing tool to show your client and to sell. Most importantly, if you're ah member or a customer of graph ease, what they have now are the 1,000,000 books. This is awesome with every order that you place with graphic between now and the end of the year 30. These books come with that order how it's used besides giving it to the client. It is an adorable little cute book of your work, if you will. Or maybe even of that Clients wedding however you see fit. What sticks in the pocket? It could be used as How smart would this be? You want my business card here it iss a little book. It's pretty cool. So thank you Graphics Studio for being there. Picked Taj I can't live without. They do everything that I don't want to do from putting the images online, letting my client's order online. I've often said, Do what you do best in delegate, the rest the rest. For me, it's pick talks there. My back end. I'm just learning shoot. Q. I haven't done it before, and I'm finding that they are amazing part or segment of pick Taj in the sense that they will run your business for you. If you're new photographer and you don't quite know how to do it, they do invoicing building. They do all that kind of stuff for you. So thank you. Pick Taj. And I know I got a couple of questions yesterday via emails as well regarding lighting. And would I use anything else and, you know, if I had to choose And if you're a new shooter, Um, besides what I do, which is available light and bouncing the light, I would use Gary Fong's lights fair for if you're not familiar with it, take a peek at that and the lights fear and see if that works for you. It's an amazing tool for a beautiful lighting. So that's it for me and sponsorships. Um, you don't have any? No. Okay, that's right. You're my sponsor job. So there they have it. Today is gonna be a really cool day in, You know, we're open again for your questions, with respect to what we did and how we work together at a wedding. But what you're going to see is it's once Maryland edits down the images. She hands him right back to rich, and he does all my post production work for me. Eso I would like to introduce Rich, who has been an incredible help to me. And like I said, you you're only as good as the people you surround yourself with. And he's one of those amazing human beings that helps me continue to do what I do. And you'll see by virtue of the images today how wonderful some of these images are and what we do and I think we did, is we have eliminated the file name so you won't really know. You'll get an idea who shot what? Because who was with who is what. You'll see. Joe, What was with the bride and bridesmaid. Rich was with the groomsmen. So that's an easy fix. But for the most part, we've eliminated it. Because when the bride gets her files, they are all numbered from one to whatever it ends. And she doesn't know who shot What? Unless she remembers, Of course. And that's the way I like it. It's not about, you know, That was my shot, you know that? That was my shot. It doesn't matter. In the end of the day, I just want to be able to give a client very full idea of what? What that wedding was like between both of us. OK, So rich. Yeah. I want to jump in. Yeah, sure. Why not? Okay, I think we're starting with gear. First. We are. That's right. Okay, so let's get that out of the way. Let's do the gear thing. So here people were asking yesterday what I bring with me. Um, now, again, what I was saying to you guys yesterday is based on me. How hobbling around. I found the need to come with more zooms that I normally do. Um, so my main camera again five D mark threes. They all have the vertical grips. For me, it's balance. I like it. I like the weight of it. I like that I can shoot this way. You'll find that Rich doesn't use the grips for his night cons, and it's OK. It works for him that way. But in any case of 24 to 72.8 is one of them, and then the other one that you saw me shooting with. This is another five D mark three with the 72 202. of my favorite lenses on the planet, especially for outdoor stuff ceremony stuff. It's frighteningly fast, uh, stabilizers in it. It's tax sharp at 2.8. I love this. And, by the way, this 24 7 He's the type two. I want to talk about the type one. It's one of my least favorite lenses that Cannon had, but they fixed it. This thing is unbelievable at this point, because Richard seem to tell you Richard seen the difference between the Type one and type two. It's frighteningly sharp now where it wasn't before Um, 16 to 35 2. love this lens as well don't use is often nice. I used to, but I love this 1 14 millimeter to point a rectilinear lands. Okay, this thing is actually used for shooting architecture. So gotta show him, but because it looks ridiculous. Yes, this lenses just so it looks like a fisheye. But you don't have the fisheye effect. The lines on the edges air straight, just like if you had to shoot a building. You don't want it to bow too much, so it straightens. Now there is still a compensation you'll need in light room if you don't like the effect, because it does stretch people at the end of the frame. But you in light room, you one click button, and you can adjust for it. And you can bring them all back down Pretty much, right. Lenses crazy. Yeah. Um, And then what? You saw me shoot the ring? I think we have a ring shot. Way picks is my 50 millimeter macro. I just love it. I use it in manual focusing mode. It's a 2.8, like, but actually said 2.5. This is what micro macro double down on the EMS, or is it really micro macro. Okay. All right. So just Molins. Alright. So 50 millimeter, 2.5, and I literally zoom this thing out and I just moved the camera in. And now to get the focus that I want because trying to focus and have that thing search for you at that close of a distance is really difficult. Um, you saw that I had, um, the 5 80 x two. I haven't gone to the 600 yet, but I probably will. I carry two of them because the last thing I want is for one of them to fail and not have the backup. So I always have a backup. And with that is the dedicated battery pack that cannon puts out. And by the way, if you're Nikon, Nikon has to dedicate it ones as well. They come like this is very simple looking thing that holds eight additional double A batteries. And that's it on that you saw me working with the available light kind about light, and a lot of people use L E. D's. I like this one. It's called a frenzy or friends Illini. It has a light box that you can stick on the front of it. This I found in a, um I'm gonna show you why? Initially, I wanted the video light and I wanted to put it. Someone emailed me about this. I wanted to put it on the hot shoe, right? And on this lens in particular because I was trying to get these wonderful portrait shots. But what I found when I hit the light on this thing, it hit the front end of the lens and cast a shadow. So I said, How do I get this thing out here? So I found his bracket in a video store and it was meant as double lighting sideways on the camera and put two lights on. But since this it was square on the bottom for a hot shoe, I said, Well, instead of sticking it like this and put to lice on, why can't I do this? Lock this thing in and extend it right in front of it, which is what it did. So no longer do I have the shadow that the lens creates Awesome little tool. I think we did get some close up, president. OK, so you'll see the difference. Because while I use flash as well, and I like to bounce it. There are times where I just want a little bit of available light, and I can dial it in. So the phrase Illini for me allows me to just dialing as much or as little light as I need in order to get what I want. Buzzer breakfast before you came in. Little item there. This. Yeah. So this is this is here's what's cool about phrases, right? While tungsten and warm light, this is the 30 What? They have larger wattage bulbs that you can replace this with. You can put filters on here as well. So if you don't like the tungsten, you go with daylight filter. Um, the battery pack and this light, I think you can get for around 304 $100. Okay, I use. And that's what I was gonna go to next. That phrase Illini battery pack that is kind of belonging to this little light last on full power, roughly 30 minutes. I kind of like to be on the safe side and in case I need more than 30 minutes, which I've never needed, actually, and it's bulkier. It's quite thick. I use I d. X, and it's called the Endure A seven s. This will run you another 400 bucks. You get ah, couple of these batteries and a dual powered battery powering system. Right. So, to these batteries, plus the dual power. Plus, this is about $800 is what you're looking at. Okay for me on investment. Totally worth it. Totally worth. I love this system the way they've been using it, and that's kind of my thing. This stays in my pocket, I clip it. This is what my cards are. This is what I use. And, ridiculously enough, what I usually have is 128 gig and a 64 gig. When I go to a wedding 128 Giger goes onto this. The 64 Giger goes on this and when I get back home at the end of the day, I still find I have 1999 images left to shoot on each card because it's not even near being full anywhere near because it starts out at 1999 that I have and I ended in 1999. So, um it's been OK. I have had no issues at all. I used 1000 speed on Lexar is another sponsor of mine, and I they have never failed me. So I know I get a lot of people asking me, Why would you shoot 1 28? What if the whole wedding? What if you lose that card? Well, I don't ever have to leave it out of the camera. I never take it out, so it's always in the camera, so I never have to worry about that. And I know people have had horror stories about losing images, but I've found that most, if not all, of the people that had a problem or dreaming images were able to right. Well, I was going to say there's some programs I remember the name of the right now, but there isn't programs I've used, and you can go back like three formats, 34 minutes. You confined images from like 34 months ago with three weddings. Wow, I didn't even know that it's wild. I mean, probably degrade degrades the quality after a little bit, but it's still, but you can retrieve it. You can retrieve it. Yeah, Okay, so there you have it. Um, Was there any other questions on this? Yes, please. Do you shoot like a J peg back up in your in your second slot or no. Minus. What I've been doing so far is medium raw. Uh, and as you can see with some of the images that we picked four images to give decline today and we had them printed. And there tiff files. But how big are they? 100 do tiff files are there. They get up to 122,000,122 megabytes for an image. That's ridiculous, right? So I'm fine with medium raw and not backing it up to J. Peg. I don't know if it slows down the speed of capture. I probably doesn't. I've never had to do it. Yeah, I don't know. It depends on the speed of your cards, but I you know, we don't through the only time where I can see that where it would benefit me is this is I've had often celebrity weddings where I've had to put out an image literally the second after she walks down the aisle back towards me and this was J. Lo's wedding where I had to put an image online. Right? So J. Lo is walking back towards me as I'm shooting. And when she got to me, she said, OK, let me see it. I turned the camera around and I went through the cameras. She goes, Okay, that one. And she kept walking down the aisle. So I went that when I pulled the card out, gave it to my assistant at the climb, downloaded and and had to convert it from Rod A J pick and boom, it was off. If it was a J. Peg could have been done right away. So I took a little longer, but it didn't matter. And I don't get that that often that I have to do that. But yeah, that works. Anything from the Internet? Yes, sir. So, um, Bennison Diego would like to know. Do you guys ever do off camera flash off camera lighting? Well, when you say off camera, this guy's completely off camera and says that he holds it a lot of the time. I do. Yeah, Yeah, I went out of the time, especially during dancing in that kind of thing. I have a tether. You'll see it in my gear as well. And I just one hand on the camera one hand up here. And I just hope my wrist doesn't fall apart. But yeah, it does. And then, you know, if I need toe change, the lighting I can I can do across this way sometimes where I'm shooting this way and then the lights coming from the other side say there's a person in front of another person. Shoot this way. Sometimes it will be a shadow, so I can. And then the other cool thing about that is that if I want to bounce it, I could just up it on the flash manually and bouncing the wall behind me somewhere without having toe. You know, turn head around. You know all of that. So it's pretty pretty quick for me either, and that we don't use any lights to set up. And I see a lot of people doing that where they put up the light stance in the corners and the add additional flashes toe fire to say it would be fun to play with way Haven't done it. I mean, there's usually just enough available like, you know, around, You know, if my cannons in particular I mean, I shoot 6400 I s O So I I literally I'm mostly in available light guy. So it's It's the flashes rarely pulled out unless I needed. And yes, it was raining that day here this last wedding, and it was harder to use available light, but I was still managed to get it by bouncing it off the swag ing inside the tent. We tend to find things like that, and all you really need is a worst case scenario. And if I didn't have all this equipment, I'm gonna have to tell you what I would add to this, which I typically bring with me is an 85 millimeter, one point to a 51.2 and a 24 14 And the reason for that is is that I like shooting the 1.2 lenses that, like 1.82 f two. Because if you're asking your little tiny flash to bounce a 30 40 feet and come back at 5.6, it may do it once. Probably not. It will probably come back a f four and Beal slightly under. But if you're shooting at 1.8 all day long, I can pop that flash all the way out there and come back. And these lenses are amazingly sharp, you know? What do you think? The sharpest point of the lenses. Any idea? I mean, this is across manufacturing. It's the sharpest point of the lens. Any lens is roughly two stops over wide open. So if I have a 1.2, we're talking 1.41 point eight so between 1.8 and F to issue sharpest point. So if you're using a F 4.5 lens, let's say 5.6 f a. So your sharpest point on the lens there's FH or F 11 somewhere in there. Well, how often are you gonna shoot FH or F 11 at a wedding? I've never right before me. Now I'm learning, you know, let me explain something to you s Oh, it is exactly that. It's two stops over wide open. OK, so I like those lenses are made to shoot just about wide open and then maybe a stop or two over that. So if that's all I have to do and then bounce flash. It's easy. It's harder to do at a to eight, right, because now I'm looking at what, 3.23 point five? So I have to at least shoot a 3.5. So to bounce now 3.5 forces 1. more stops. It's harder to do. I do it, but it's sometimes slightly under. So that's kind of my M O for bouncing and off camera flash. You're welcome. Charles is wondering if you ever use a gel on your flash. What we never gel are flashes. Um, I don't mean just to give you f y I Everything for me is auto white balance rich tweak. Soon Later. Yeah, that's right. And even in mixed lighting, like I said yesterday, it's like it becomes black and white. You know, if it's really ugly on DSO to add another thing for me to have to think about by adding a gel to create a certain I just don't do that, it's just one more step that I have to think right, And I mean, if it's for some reason extreme, the coloring in the background versus the color from the flash than there are ways to use the brush and light room to add a warmth or ah, cool. Just using the brush tool, which, you know, even then, I don't hardly ever need to do that because, yeah, if last usually does a pretty good job one way or the other, right? White balance is fine, Yeah.

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.