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Wedding Photojournalism

Lesson 22 of 34

9:30 am - The First Edit Part I

 

Wedding Photojournalism

Lesson 22 of 34

9:30 am - The First Edit Part I

 

Lesson Info

9:30 am - The First Edit Part I

From this point, we're gonna talk a little bit about what we do on the screen. I don't know if screens up shares. Yeah, you take the master seat. I'm gonna let me get technical here. You know, it's about Yeah. So what we typically, we won't do a whole lot of this because it's what we end up doing. Usually is the images. I'll leave the cards on richest station in the studio and he'll download him after he downloads all the raws. My wife, Maryland, comes in and she doesn t edit. And she'll do a once through edit really quickly up and whatever's left over Rich then will take in and throw into a light room and convert Rotter Jay. Yeah, and we should say we like that she does the edit because normally it's We're so connected to the images, right? And so it's hard for us toe go through our own stuff and be really brutal about it. Whereas your wife Maryland, she could be brutal about the edit. And because we'll be later, we like there's that shot and killed you like No, no, bring it back in. ...

She's, you know, rats. We pulled it out. I figured we'd start with just the beginning of the day. So these images are unedited, uncalled down, so that you can see everything that we shoot and you can see that even Joe is human. We all have, you know, un enjoyable shots. From there, we'll have the faux pas images. Listen, here's the deal. Okay? I want you to see everything simply because, or at least you're gonna get a scan of everything because they're gonna be mistakes in there. There's gonna be ugly photos in there. That's why the editors there. So I don't want you to get the idea or here on 150 great images. And that's what they shot. No. We've also gotten stuff that really were horrible. Oh, yeah. Sorry. But But that's the point of it, right? It's It's It's where human, We're going to make mistakes. We're gonna find not flattering photos. There's gonna be a fork in someone's mouth. The wrong timing is there. They just get edited out. So you're gonna get a little bit of what Rich gets to see, or Maryland gets to see. So so that's out. Yeah. This one will be out. So So that guy came in with, you know, a little a little guy going on here. There's a groomsman shot. So I was like, I got to start out with this. Um, I don't know. You know, we may or may not. I think we can clean it up. You clean it up because obviously it's under. It's obviously terrible lighting. But you know what? We'll give it a star anyway, cause then maybe and then we get healthier hanging out with them. Unfortunately, can't see his hands. I mean, I don't want to see you. You don't want to see. Oh, so these are just the beginning shots? Um, the warm appeared I love I was taking these and I was like, What's in lovely detail. And then I went over and they were not really flowers. Will that? Never mind. I don't know if we walked over and he thought he got an amazing detail than he touched it. He says, Oh, it's not a real one. So that was my quick grab. And I think this is so I'm gonna I'm gonna pick, um, you can sell. There's a difference here in sharpness, just like you're saying, Joe, this one is blurred. But then you get ones here that actually totally sharp. So we're gonna give that one a star and she was that one. Here's an example of Hey, let's pull the flash out and don't no, no, that's not even That's not even in the range 85 millimeter Rockin it, um, that sharp, but his expressions just not where it needs to be, right? And then these air actually out his hand right over here is in. But that's not worth it. So we're not going to go for it now, This one in here. That's when we used just looking again. You know, I don't know exactly how interesting this whole thing is going to be, but I'll explain how we pick the images like this one here. They're having a little moment with the kid that's people are smiling and fun. The angles, more or less the 4/3 kind of idea they're directing, and the lines are leading in a little guy down there, so we'll leave that in, then may end up being a black and white. I usually market six for black and white, which is a red label so that later I can pull it in and we'll do a black right conversion to some of these. Yeah, let's see what else we got here. Have a drink from our Dixie Cup. Come on, you gotta have one. It's you know, you're the groom. And then this guy here, he's not convinced yet, But there's a smile. So actually, this is something that Maryland would be doing right now. That's right. I'm not usually the one doing it. So I might be. She's probably going back home, just like total pick those images. Were you thinking? No, she She's frighteningly fast at it. She's been doing it for a while, and then here we'll see how the bright, like all of a sudden we're in with the bride later, we may later what I'll do when we're actually getting into the J peg stuff or when we're going to process to J. Peg. I will section these a little bit more chronologically pleasing because we don't want to go from this to this and then back to this really jolting Lee for the bridegroom when they're looking at their pictures for the first time. So, um later, all kind of move them around either by changing the time stamp or by putting them all in the same folder in light room, and then you can just kind of drag them from place to place. But they do have to be in the same folder. I know That's really fun. Really fun. Fact that you're learning right now. So there's test hanging out with this guy. Um, again, this may be better in black and white. So what I'll do is I'll mark that one, Uh, a little kid hanging out down here. A bit of a display moment. Yeah. Now we're gonna skip that. Okay, Now, this is super cute, so we're gonna definitely keep that and maybe that 12 and this is again, I'm kind of showing you the first at it. So I'm gonna be a little bit more like I'm gonna include more images now and then we go through it a second time. Um, I know there's one here where we get that's it right there. We get the good smiles, and I love that. You can just barely see the little kid here with the water. Yeah. Little kiddie shot we dio are getting some nice moments here. Yeah, it's nice. I think so. Too Good soon. And I got her attention. But see, these are my little quick portrait into 72. 200. Unbeknownst to people. So, Cameron. And where I get actually who they are, minute they turn towards me. It changes. Because then here is you get to put on a little bit of a smile, and that's okay, too. It is nothing wrong with that, is that I? Yeah, yeah, but getting the moment is yeah, exactly. A little detail of what's going on here. We got our first aid kit, just in case. All right, let's see. Um, and then things is yours. This is the first ring shot. Yeah, I did it with this is with the tilt shift lens. I didn't tilt it very much. I was a little nervous again about using it. Um, and you know, obviously, if you're gonna check for sharpness in light room, you have to kind of wait it out. Um, because it loads. It takes it takes a while to load the full. You can go over to the develop sometimes This makes it go a little bit quicker, but, you know, I'm using Joe's laptop. Which isn't as fast is the machine mission another Mac pros that we have back at the studio. But see, it's gonna take a little while, but then we can check it. There we go. It's a little you know, we got a little bit of grain going on, and, you know, obviously I'll get to this later, but you can do a little bit in sharpness. You can kind of balance sharpness with noise reduction and find that spot where it does look good. It may not be this image. So market for now and then if there's another one in here somewhere, that's a little bit sharper. Bling blang. Yeah, I think that probably was. It will have to work with that one a little bit in light room for the sharpness factor. And then I think this one looks pretty good too. So we'll be able to use that. Okay, So this is the gift for the groom of right? Yes, it was. Yep. There's a little compass in there. It was a really sweet moment when she when he got that I picked this one here. 85 millimeter again. These are gonna have to be white balanced, but it will be totally fine. Even it's a little hot, but it's well within the range of the raw files that were using a moment with him and the kid. Maybe the one where he is not making the post face will do this one here. That's kind of cute, too. May believe it in for now. Is that when the little flower girl gave the gift? No, I got were away. Yeah, that she's not even in the outfit. Yeah, I wasn't there, so I didn't know. So we have an image here. Two to pick from. I'm thinking this one here because everyone's looking pretty great. This one here, we got a little bit of I mean, it's just about the flattering this of the shot, right? I think it's better that we were there this similar. We might as well go with this one, because then we don't have to worry about anyone going. Oh, man. You know, and remember ching or something? What are what we endeavor to do is to try and not do too much post production work. Right? So If it's a zoo, best this possible capture and then just enhance. That's great. But if you have to start thinking about fixing it, it's a lot of time spent on computer. So here's one I like to follow the rule of thirds like a lot. Actually, you can break the rule all the time if you want, as long as you know what you're doing. But I just this image here right here. This one's more of the thirds rule, and I actually have my crop tool set up to show you can do this by hitting. Oh, you can change the overlays on if you can see this on what I'm doing. Yeah, this is the 2/3. It's 2/3 right 2/3 rule, a rule of thirds cropping tool function. So it's actually pretty cool to use that to kind of just help you if you want. And I think more or less, as long as it's laying. Even if even if we did it something like this, you know, this might be a great example. It's still kind of falls into the rule of thirds because it's right here, right here on. But I think this line here kind of represents that if it is going to be in the middle trying, try and put it in line, I don't know. It's just one of those things that, honestly, what I find and then you probably well is more. You crop your images in photo shop relating if you're beginning photographer, just take them in and crop them. Even if you think the crop is good to begin with, just play with it because the more you crop in Photoshop light room, whatever program you use, the more you're used to cropping the image to that perfect little spot. The more you'll start doing that when you're shooting the moral, just start happening as you shoot so framing up in post, and then later you'll start noticing that is happening organically as you're shooting. Okay, we have a little football moment here. I'm not the best angle that I could have ever had. But there it is not the biggest room for a football shot. Yeah, I think this one a lot I love this kid was wholly areas. You'll see a lot of that kid for better for worse, Right? Okay, A little hot but it's okay. Okay. And then I was given over to Joe the rings as well, because I wanted him to see what he could do with them. That's a lot sharper than mine. It's cannon. Yeah, that must be it. Okay, So here's Here's a getting ready of the groom. He was already ready when we arrived. He was pretty much all set. So I wanted to get whatever I could of him kind of primping himself just a little here and there. Just to show that and then weaken again. We can rearrange these so that these air a little bit earlier. It's all about how the story tells out. So these may end up going earlier in the proofs. Then they are right here just to show him first, as opposed to his groomsmen. There's a nice one right there. So again, these haven't been cleaned up yet. You see, we got little specks and little dusty's and whatnot. Um, we're gonna clean those up and obviously will probably do a bit of a vignette. Just a slight one on. We'll check for sharpness later. Okay, So this was this is me encouraging silly behavior. They were doing the Dixie Cups. I made fun of him for having Dixie Cups for their boozing, and they were like, We gotta put the pinkies up So that was a fun little shot. I think that's funny is on his IPhone, but I like the little lens flare going on, so we'll keep it. Maryland's probably like No, dude, it's not even kind of worth it, you know? Not sure what's going on. Okay, so she's had This is the shot where I explained yesterday, as she's having lipstick put on she the girl, the lovely lady in the background was intently looking at her best friend. And there was a moment where I racked in on, I think, Yeah, I didn't know what you're talking. OK, we'll come to that. It was right in here somewhere. And also in the focus became about her. Yeah, and I like, Yeah, because I think that sweet. So if you play them next to each other, were initially there in focus, ran all of sudden. So we go from something like this, or maybe something like, Yeah, that's one of those. Yeah, exactly to this year. Excuse me. Quick question from the Internet, by the way, they love this very much. I don't think there's ever been a photographer who has gone in and like, here's everything you know here it is going to be able to see that it's so important. Ah, quick question from an RS is asking if you can explain your rating system as you're going through. Is it one for your pics or 2 to 5 and the other colors Tell us what you're using. Okay, that's great. That's a great question. So for right now, I'm just doing one star, Andi. Everything else is still zero. The stuff we're not going to include later I will use. Let's see. So wait zero is edit out. That's right, right. So ones are selects. For now, that's the first round first round of that it through late around. When he pulls up, he'll go on, go to the filter and pick one stars only, And those air the initial selections. Yeah, I'll start zeroing out after we do the whole wedding through. I'll go through it all again. What's cool is that the first edit for any of you that are like man, there's so many images in front of me. Uh, the first at it is a little grueling, but the 2nd 1 takes, like, hardly any time at all. You're looking at good stuff already, and you're just like, Oh, this is I don't need this. I need And it goes so much faster. So just bear with it. The first ones kind of pain in the butt. But in the 2nd 1 just goes by really connects, that's why. Oh, Maryland. A big right. She does a lot of work on that thing special. When you were taking it, will you give your wife a heads up about this coming in? Now she reads my mind. Yeah. And again, you know, I align myself with people that I trust to do exactly what I think should be done. So Maryland Picks will pick this out in a two seconds. So she'll pick the 1st 1 workshop because she knows I like to tell stories. That way, she tells the story the same way. So she'll pick his or mine the same way. So what? Rich goes home, he'll do it sometimes and edit first, right? Do you do that? I do my stuff for yeah, before I turn in the images that I shot as second shooter, I want to go home and call them down to what I think they're gonna want to see. And then Maryland, will you lose degree? Lose? Yeah. I usually turn in about 100 images per hour is what they're expecting from May. So I turned 100 images per hour. More or less doesn't have to be exact course. Um, but then, yeah. Then Maryland goes through our stuff together after I throw it all in the light room and do it chronologically to the time stamp. So Maryland will see both riches selects loose at it with mind that haven't been edited at all. And then she'll edit it all together and they're thrown in together. I believe in sequence at that point. That's right. So she just goes through them. She can definitely see the stamp at the top. Is it, then? Still JB one? Yeah, actually, because you can you can hit command. I just, like, get info and you can see all the stuff up here as faras who shot it. Well, in this case, we've already changed the file names, but usually it's a JB want maybe water Jamie to, depending on which camera came from. You can tell this is a cannon right here, but there's all the settings and everything, and I pull that up really quick. And sometimes I wanted out of the way. So sometimes really quickly there there might be an issue that Maryland picks up on. Say, you know, at this wedding there was a little more soft focus stuff than I'm used to seeing from you, and I'll go really show me. And then she'll quickly pull out the images by virtue of being able to see who's files they are not just which is, you know he can. She can separate him out. Then she and that's how I had discovered that initial 24 had a problem. The type one that at one wedding I had an issue with a lot of soft focus from that particular lens and loan. Behold when I sent it into the factory, and I do this every year, by the way, which is a good thing to do at the end of the year. In December, I take all my gear to can and CPS and for Nikon, NPS, the professional services and I have him service every camera, every lens, and without fail, they've made adjustments to all my gear. I mean, I come back and I want to read what was done to, if anything was out of alignment. And I find most of the time maybe not all of the time that the lenses air out of, uh, sink. The cameras are out of sync. In one way or another, something needs to be adjusted. So and I need tack tack, sharp stuff, you know, And if you ever buy and I do this now and I don't care which company does is when I get stuff that's new just to be safe, I send it back to CPS before I use it. Because, believe it or not, I've had times where that lens or that camera body gets tweaked a little from the factory. Just the hair just a little more, and I rely on it. So it's kind of a safety thing, too, you know, and that's good thing to belong to CPS or NPS. I use one star for the ones that we select. Two star is stuff that we're gonna give to a coordinator because we always take care of our coordinators afterwards, so we'll give it a two star. If it's something like a detail shop. I don't remember what three is for. I don't think we really use it. Four. I'll mark if it needs some sort of retouching and Photoshopped If there's for some reason, um like we don't really do very much photo shopping, but let me see if there's something here that fits the example of what I'm talking about. For example, if there was something in this shot like if there was a little bag here, like a purse or something, and I was like maybe I could get rid of that because it's a distraction, I would mark this shot four for later. So whenever I go in and filter, I can filter down to four shots and I can see which ones need to come into photo shop for a little extra. Here there, Um, and then five. We mark for your portfolio. If there's anything that's just out of this world, and then we also do the color is 94 red, which we mark just It's kind of arbitrary But red is for our black and whites that will convert. And we also use nine is blue for the images that we're going to give says nine was red and nine was blue six was I'm sorry. Six All right. And then nine is blue for the images that we're gonna like kind of boost a little bit for that. Your favorites, like, Wow, we call them wow images. I don't know where that came from, but we like it. But the images that we picked like 15 20 somewhere in their of the images throughout the whole day that we think are just the most fantastic ones that Joe likes the best that we should put them separately. At the very end we leave, we leave them in the proofs in order. And then we put them at the very end as well, after they've gotten a little extra boost and photo shop, a little extra tweaking just to make sure everything is perfect for them. So that's what nine does. I think that's pretty much all the rating stuff that we use and the reason for that It's not just the arbitrary. The wow images are to educate the client. This is what the image will look like in your book. So all the images you select 150 or what have you will get this kind of treatment. So it's an educational tool. And they also get completely bonkers when they go on to pick Taj and they get to the end of that folder and where the wiles are. They did come back and they rave about the images because they're spectacular. I like this guy over here. Yes, kind of fun. Because it's so remember when I talked yesterday about why I put that little dress there? It's juxtaposition next to that little painting or that little drawing that I thought was pretty cool. You know, you haven't. Yeah, that's cool. Room thrown by this window on. See what he does here. A little makeup moment. Yeah. So this is this is pretty much how it goes. Just picking out some that we think you're gonna end up in the, you know, in the possibilities for our second run on the images

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.