Wedding Photojournalism

Lesson 14 of 34

Getting Footage Ready

 

Wedding Photojournalism

Lesson 14 of 34

Getting Footage Ready

 

Lesson Info

Getting Footage Ready

It is my pleasure to welcome to creative life where a second class job using teaching wedding photo journalism from start to finish job using is an amazing photographer. His work is seen around the world. He is transited and his images are known as fine art to many of his celebrity clients. Please welcome job you think hand that over to you, okay, sure I'm gonna do with this clicker good morning. How are you? Everybody good, hossam? All right, so, um, I guess what I'm going to do this morning besides entertain your questions here and the audiences questions as well is toe go over some of the footage that was taken yesterday and maybe talk about my mindset in what I was thinking at any time, whether it's you out there are you in the studio? If you have a question while I'm perusing these clips, feel free to ask a question, I'll posit, I think, uh, interactive dialogue would be kind of cool toe if you wanna, you know, get spot on information here. Okay, so let me see what I can start wit...

h getting ready stuff, okay, let's do that, okay? I think what you'll notice is that I'm using flash I'm using available light what I try and do whenever I start the event is I try to get in sync with the moments that I see so it's really an interesting and how this works for me, there's a flow of moments, and initially, when I arrived, my mind is reeling because I'm actually thinking, and what I endeavor to do whenever I go to a wedding is, too stop thinking, I want to flow with those moments, so I will maybe connect with an individual. Well, in this particular case, it was the little girl because I fell in love with her. She was downright awesome, but that stops my brain from thinking about, uh, technical things, thie advent of what am I going to do today? All those things that might come to mind when I first get their anticipation, all these wonderful things, I don't want to do that, I just want to be in the moment I want to capture the essence of the person in that moment, that's, what I set out to do. So, having said that, what I also do a cz well is prompt moments, and you'll note that probably throughout this, the segments and these clips is there our adjustments on my part, because not all weddings are created equal, and so sometimes when I feel like I need thio snazzy it up a little bit, I will actually have a hand in it, so while the primary way of shooting for me is put in a photo journalistic way I also prompt moments I create moments as you'll see in the first look uh it's it's a full package it's just I don't have any one thing that to me is prompting a moment the minute you put your hand into it it's no longer photojournalism the minute you get someone's attention it's no longer photojournalism however without that what I just did I wouldn't have gotten some of these shots I got of her what's your name what was it and all I tried to do there was to get her to look at me I saw the light and then when I got her attention what was your name again? She looked at me food got you so there are ways to manipulate the scene it's like I said it's not photo journalism but I will get the absolute best out of someone without them knowing that's the key okay I'm gonna you know fast forward some of these things and see where we can scoot this thing forward a little bit oh slow down there was a little you guys know that a little tab that's down here that are there it is I see it so detail shots love them right? Okay, well you're going to see me do here too is how I work I shoot most everything in program and I know that freaks a lot of people that what do you nuts you're dumbing down joey should be shooting an m actually when I shouldn't manual when a shooting manual what I find myself doing is slowing down and because I have to think I have to think about my settings I have to think about after I'm done with the particular shot where I left my settings to make sure I go back to where I was before in case I turned in another direction and m doesn't work in that direction so I'm constantly having to think about what I'm doing with respects to my camera so what you'll note in a second is that what I'll do? You'll see me pointing down I actually locked my meter so in the programme mode I khun do a scene selection knowing full well that if I shot this dress straight on because of all the light behind it it be underexposed and I want a little more of the detail so what I'll do sol point to somewhere down below where I'll either select visually and this is buying parents having done is over and over and over average meeting or spot metering further into the ground and locking it coming back up in firing okay and what you'll see and you probably see these tomorrow is that these images look like they've been worked in postproduction but they're actually shot on camera the least amount of post aiken do the better for me okay? I'm a film guy I used to drop off that baggy on monday at the lab and say see on thursday and I would come back on thursday and I would have three and a half by five proofs of everything that we're color corrected density controlled and I would happily go home and end it just oh this's out this is out here to the client done now you sit in front of computer, brought a j peg well, raw first and then edit down the roz the edited versions go to j peg do ah batch color correction on everything select some images have wow them because I do all these things for the client and I have my wife do this my wife is my editor and there's a reason for that I want a woman looking at this stuff. Okay, so she's been adding all my work and even though sometimes I come back in and I look over his shoulder and said what you knocking that one out and she goes yeah it's really bad but I love that shot are you crazy? She no no no no it's out so I wait till she goes to bed and I sneak that bad boy right back into the pile of goods I have to do that once in a while but you know what I'm going to say this up front right now you're on lee as good as the people that surround you the people that work for you if if you don't have good people you're not going to be that good so when you see rich working out there when my wife edits or your body does all the album work I'm on ly that good because they are they allow me to freedom to shoot the way that I'm shooting the way that I'm explaining this to you now without thinking I tried to eliminate as much as possible this whole thinking process and when I have good people that work for me it's less for me to think about and that's why I trust in my wife maryland editing it's why I trust your buddy doing the album consultations with my clients she knows exactly how I feel about images and how my clients feel about him in terms of importance she has a relationship with them yes, I jump in at some point I jump in and help out I do final selects maybe I will look at maryland's edits and she would have pulled out some wows and I might add to a couple of them but all of this is because I just don't want to think as much as possible I don't want to think about what I'm doing okay um so take a peek at this this is actually interesting with this right next to it I just want this off center for a second. You do? Hey, rich uh, your pollution you shoot it okay, thank you. Like a chair out there but there were something like can you get can you give me his done okay, one of you but I'm back now so so let me break the other would bring the other one that okay? Details very important, but I try to do this quickly as possible. I don't wanna hang out too long with the details. Yeah, yeah. Is there another angle now? Mind you, kate who's assisting me that's the first time we've worked together pretty awesome. She was it was amazing. And I thank you, kate for doing speaking of cate quite a few people were wondering who she was yesterday and her name is kate ashley and she's kate actually, photography and I think they're dropping her link in the chat rooms for you guys that's awesome because she was great. She was absolutely wonderful. And you know, if we're not to have worked with me before she read my mind because she's a photographer so she knew exactly what I was looking for when I was looking for it or would at least asked me, you know, do you need this right now? It was awesome take the ring joe there's questions in the chat room from yesterday to question that came in about this getting ready part. I've been san diego, he says, I love watching you shoot. Uh, what is the slowest shutter speed you use when you're taking pictures of people moving rather quickly in the girl? Sweet what's, your maximum I s o setting you'll you'll watch it too, and here's where thinking comes in okay, I don't think about it, I have no idea, so what I do is if I hear that shutter drag, click, click, I go by sound I I instinctively know that's too slow the shutter if I start to look into my view finder and start to peruse it and where all my settings are, I've lost another moment, so what I might do is jack up my I s so because the shutters going too slow because I'm shooting programme mode it's selecting the shutter speeds according to whatever lends a ham on it right and the aperture as well the camera is very smart today, it's brilliant, it actually will help you not have to think about these things it's pretty smart given that, like I just explained that dress shot would have been fooled, I think the camera would have been fooled by that backlighting underexposed because it would have tried to do a proper exposure for that so that's when I override it, so I know when that camera will fail me. And by this same token, if I hear that shutter drag, it was scary last night, by the way, during the fireworks because I was at sixty four hundred s o and I heard click, click, click, click and that was the shutter and I'm thinking, I'm probably handholding at a quarter second at two point eight when I'm shooting because I was locking in on them I had kate used my frenzy like too just like him slightly so that my camera could lock on to the focus of them that's the only reason that light was there it was pitch dark and if you can imagine that you have trying to focus when that burst happens and then and then it's gone, you know you miss it, right? Or you start guessing initially where that focus point should be. So I said, kate hit it and she would like them so I could focus that's all I was doing with that and then I kept it in programme mode because I knew that was going to drag the shutter. I wanted to make sure that there was going to be enough and I wanted to drag the fireworks out a little bit so instead of tax sharpened you too fast of a shutter speed where you just have these short little lines, these little burst because it freezes it. I wanted to drag it out and you'll see tomorrow one of the most incredible images it's ridiculously sick it's that good? Yeah, it's fun, so I do take chances in answer to the question online again, I do take chances and risk sometimes, and you'll see even in my portfolio online, there are images where the bride might be slightly out of focus while they're in their first dance, but because the moment it's more important than f ate, I'd rather catch that even softly, out of focus kind of a moment instead of not having it because I'm worried about my technical settings, what we will get more on the technical side should watch can shoot this here, you know that looks like a mixed lighting night. Mary oh, are you on auto white balance? Are you choosing your white balance on the flash that you're using on seeing your bouncing that is that t t l or is you just got a good question? Good question, so yes, what what I tend to do is e t t l on the flash I like bouncing it it's otto white balance I don't all my settings, I try not to touch any of them I just want to shoot it and get it as best as I can in camera, and then afterwards actually enhance it as much as possible, right? So the whole thing for me is enhancing the image rather than fixing the image, so that's it let's see the mixed lighting you got fluorescents, incandescents you've got some daylight coming in, and you're an auto white balance and nightmare for a lot of people right for me, it's very simple. It becomes black and white. I add that that's it for me, you know, if it's that ugly and I got green and yellow and I got all these one, I'm not gonna try and correct the colors. I'm just simply going to convert it to block and we're quick full of amon s o then you're you're setting that yourself, you're not going out away, so yeah, I said that myself because how I adjust my shutter speed or my f stop. My aperture is by my I s o that's. The only thing that I changed myself is s o because I look at it sometimes and I see what I need to do to change it. To get two point eight, I lower the eyes so that kind of thing, you know and all go into depth later about what I used with the buttons for in that front dial because I can do selective focusing, I can actually select the afra chur or the shutter speed while in p mode. You know, people don't think about that. They think they have to be a navy or tv to change all those setting she don't, you don't at all. You can use that front dial really quickly, and nikon has it too. So it's not just a cannon oriented thing, right? Are there any other questions that you about the seven? Yeah, quite a few people in the chat room yesterday. We're also wondering if you're shooting in j peg or raw, I like shooting raw again, being filmed guy ross like shooting a negative, it's like shooting film, you have latitude in it for five f stops that you can play with if you're under over exposed, right? Ajay pegasus like shooting a transparency if you're off by a half a stop it's gone, if you've blown out the highlights in a j peg, hard to retrieve them, it's not that they're so a raw has all that information in it, so just give me all that information, just like in the negative and let me work with that. So it's always in raw for me and I with the five d mark three now, which is what I shoot it's medium wrong so my files are about ten minutes each good size I mean, I could get thirty by forties on the wall for people in that size, so I'm very happy with the raw files that I'm getting out of my five d we good? Excellent. So now you're seeing a little bit of rich I know there were questions about rich as well oh yeah ok, I see we're killing this sound of, um what you'll notice is that rich and I tend to work very seamlessly now we know each other very well and it's something wait do this dance we read each other's minds it's taken me a while to find find someone to work with like that and he has his own methods, you know, there's no right or wrong, right? I mean, everybody shoots in a different way. I pick on him a lot when he when he goes, oh my god, I didn't get that he says that's because you're shooting a nikon rich and he does the same thing with me says you didn't get that because you're on a cannon joe um so he shoots nikon, I should cannon and we make fun of each other that's me shooting with the fifty millimeter macro I don't use it in the auto focus this is where I manually focus it and I may hear off sometimes go to actually manual mode here's one of those instances where I will do something like that because when I shoot black service or reflective service is the programme mode will either under over exposed the image that I'm after so I'll control it by in this case with what I was reading there I was under needed toe under expose it by two three f stops so how I focus I moved back and forth I'm the one that's moving, so I'm focusing it myself by just moving the lens back and forth it's easier because those macros are tricky sometimes right? So I see where it's in focus where it falls out of focus I think I already shot the dress at this point okay, so I'm looking for I think I'm selecting a scene and I'm also looking to clean it up a little see, this is not pj anymore right now I'm just the wedding for tired now what you're not seeing here while there's a shot that I'm taking of shelia having lips put on who I'm really after is the girl in the background you see her between in the back with a smile on her face? Let me see if it comes in you know you missed that we missed it but what she was doing was smiling so what I did was one shot of surely having make up the next one zooming in on the girl in the background so if you put them if they end up in the book it's the first shots of shelly attack sharp with the other woman out of focus the second one was her smiling in focus and shelia out of focus I do that a lot because it really tells a story right? A couple three images depict ix trip takes whatever uh to tell the story is wonderful wonderful way to tell the story let me see if I can find that one spot where I was actually yeah there we go I just locked it I just locked go ahead you go okay so I just locked the meter down a little lower and you'll see on the back of the scene you saw the first shot which was straight up a programme shot which is fine so that's much better to me I've got more detail in it and I just simply over it was overriding the program mode by locking the meter's somewhere else and selecting a little more of an aperture and opened it up a little more versus the other way way see the difference I just simply open end up just a hair by locking my meter somewhere else yes and that was going to actually part of my question because then once you open that up does and when p mode the camera chooses how it's going to open it up correct whether it be with appa roger or with shutters yes so it's elects based on the lens that you have on the camera it knows what's on there twenty four seventy and where it's racked out to our your twenty four millimeter or you in at seventy what's delighting situation so if it's at seventy is going to give you a little more stability and go for a higher shutter speed then if you were wide open a twenty four then we'll go for a higher f stop it's it's a very interesting is it really is very intelligent so smart yeah it's very smart so now let's just say that I locked that meter down below and I came back up and it said six point three on it right so having a scene selection initially I was that's a f eleven I dropped down I locked two minutes at six point three right by one two point eight how about if I want to point eight dial that thing down in the front while my thumbs on that back button that front dial will allow me to choose either a shutter speed combination in terms of priority or an aperture so I can go two point eight or I can go two hundredth of a second like I can move it around to what I'm looking for in that front dial when I let go it and fire it goes right back to program so it reverts back so the reason I do that you see that I'm saying let's let's say that I was looking at that window and that door opens up behind me and I said it the last time I was here in creative life and it's the father of the bride looking at his daughter for the very first time um let me get this planet if I'm in pee mode it's very easy for me wanting having done that toe let go of the buttons turnaround and nailing because its back and p mode but if the difference of light that I'm exposing for here versus that back door is five to six stops and I mean imode I'm not gonna have that much time not that split second and I'm only talking about a place that I'm not talking about that you can't do it in him you can especially people that are really good at it that have been doing it for years khun down that puppy and really, really quickly but it's just a split second faster I'm going to be a split second faster and for me it's about the moment between moments the perfect moment is between other moments it's a split second the difference to me, it's literally a split second, and I can you know, we can cruise through that tomorrow through some of these images that we've fired off and you'll see the difference aunt to try and re created this heart, so if you've missed it and you can't wait, can you do that again? Yeah, but you think it will look the same? Never because if you try and get them, tio emote the exact same way you saw, but you weren't fast enough to get, they're not going to vote the same way, if you ask him, can you smile like that again? They'll smile, but they won't smile like that again. Well, you're capturing what I try to capture is the inner person and that's camera underwear and that's boom it's a fleeting moment that is really fast because if you do this and wait and they're aware of you now, it changes everything because now the individual's camera where and they're going to put out the camera persona and they're going to smile at the camera, even twist their body because they know they look good this way and everything changes about the mood and who they are everything because we've been taught since kids to smile at the camera, so every time any of us, including me, sees a camera we do that thing that you ever noticed when you point also someone changes their whole body positioning our weight and they bring your wife in you know? Hey, we do that it's automatic so the way that I hoped to capture most of what I do is camera underwear they don't know the woman in the background while shooting surely it had no idea I was photographing here none whatsoever. The smile on her face was brilliant she was in the moment with watching shelly I having makeup put on it was beautiful and she genuinely had love in her eyes and you can capture it now what if I said hey and she looks at me could changes the whole thing changes immediately because now she's posing for the camera how we doing? Fantastic got any question? I threw one more question during that same moment you made an artistic decision about the bridesmaid dress. Could you talk a little bit about that about we don't let the flower girl yeah, well, yeah, but they have asked about bringing the bridesmaid dress into the shot and you had said no let's, I love this. You get a little bit about that? Sure, sure, sure and that's exactly what it is artistic license I actually haven't in my contract that you can't put pu my photos based on artistic license thank you very much it it's true I felt that was simple it made a statement the beautiful white dress and that little girl's purple dress and to add another element to it was distracting to me so I said no no no no just leave it out I like the simplicity of it I like the balance of it beautiful white wedding dress and tiny little purple flower girl dress it was awesome and yeah no it's it's I make choices like that sometimes and I try not to over post things like initially after that maybe I'll put the shoes in the foreground and maybe we'll add you know this or that or the other and it gets cluttered so instead I subtracted them and made it's simply about the two dresses on the window yeah um let's see what else we can do here then I started doing this this was fun to actually what I was seeing I don't know if we'll see it on video or not you'll see it in my images. So what I saw there it's a juxtaposition that little dress I put there intentionally next to that drawing slash painting because it was one of the beautiful scantly class clad girl but very pretty, very elegant and I said, what a nice juxtaposition very beautiful little portrait of a woman and the little flower girl dress so in my frame that's all you see from the post right to that first image to the outside of the frame of that first image next one right next to the other ominous could pass it there's a lot of footage that they asked me to sell here is rich working now rich and I've been working about six years together and you know he comes into everybody comes into the world with their own set of eyes you know artistically and otherwise so it's not that I was looking to teach him anything but maybe by hanging around me some ofmy would rub off on to him which it has so he's look he's learned some things for me and other things he's just come into the world on his own with and when the light is one of my most important things and I don't know if you noticed that butt what rich was doing was creating directional lighting he didn't place the subject in front of the window and stood by the window shooting in where there was flatlining he placed tests on the side so that was highlight one window side on his face and shadow on the other which creates the third dimension depth it adds a lot of character to images when you when you can create depth in image when you knew flat lighting it's two dimensional okay it's it's it's it's flat right you have two dimensions easy anybody could do it when you create that third dimension is difficult because it's it's harder to create those shadows and add highlighted one side but not as hard as you think because you just got to look for that one source I learned something from my dear friend dennis reggie he may point to look at paintings dutch old seventeenth century paintings fifteenth century paintings I'm dutch so I was intrigued by how he pulled this one off and he says looking for vermeer was it for meal yeah yeah vermeer the vermeer paintings are always by a window and the light comes from the side and you got highlight and shadow and there was always something interesting about a vermeer and that it it had a lot of character to the portrait's it had a lot of depth to them and it was because of the sidelining and so dennis came up with this idea of fu fing where you use bounce light which is what he taught me which is what I've learned to do when you see me in the tent and my flash is not directly behind me to fill it this way but off to the side so that the light comes from the side and it creates a highlight in the shadow much like of amir and it's easier to do and control in a portrait setting not so easy to do when people are dancing around facing different directions right that's harder to do but I tries best as I can to fill light from the side when I'm facing the audience, the light comes from there or they're not so much from here. Unless, of course, they're and there's far away and there's very little strips of white, the bounce off. Then I might go up above me to give me that lighting better that than direct lighting. I try to avoid it. I use it sometimes. I don't like saying never. Uh, I use direct lighting sometimes, but as much as possible available light. And when people asked me this before, this is so, what do you bring, joe? What kind of lighting gear lights. You know, the setup stands. I said, I'm available light shooter. And every once in a while, my flash is available. So that's kind of how a joe from the internet really quick. Richie is wondering. I understand his style has evolved over the used where you can, uh, where he consents, the camera frame setting through your eyes and your ears. Did you shoot the same way earlier on in your career? Or is this something that you've finally got your formula now? No, I started that way, actually. Because if you can think about this for a second I started shooting film and even though I should film today, I still people still hired me to shoot film and I just came back from paris where I shot the whole wedding on film and I did shoot some digital and rich and don were with me and they shot digital it was an amazing, amazing wedding it was drop dead gorgeous and also in the rain like yesterday, but on film I can't look at the back of the camera, right? So either I know it and I have to use my ears and I hear the shutter go off and I guess to make where that's at because I can't take the time to look at the back I've tried, okay, I shoot today sometimes I don't know what's cameron holding I'm looking the back of the camera my film camera so where's the image it's not there uh, yeah. So I learned to shoot that way the way you see me shooting now because I shot film um interestingly enough, not long ago I started thinking if I ever got in new second shooter's the first thing they would do with me to find out how they shot is I would hand them a camera that was just film can go shit, let me see what you can do with a film camera because, you know what that that it was a craft back then you really needed to know your nuts and bolts about photography to be good at it to be paid for today it's easier the technical advances has made it so easy that we commonly refer to uncle bob can take up his little cameras little rebel and shoot and come up with an amazing image and I'll throw it in post and do a while to it and he's now a photographer well I have to say though still today even even with all of that the people that noted the difference that are willing to pay for the difference will still pick someone that knows what they're doing with the camera and not so much with being done in post what I'm finding today what I'm learning today it's while a few years ago was all about the wow factor the saturate this if I see another long that had green grass that didn't come from this planet or purple skies that I'm sure we're on mars somewhere because they weren't on this planet uh you know enough and I think what I'm hearing now from the clients that book me is that they have had enough they have had enough are oversaturated images over sharpened eyelashes to the point where everything is soft but the eyelashes are so sharp that they jump off the page invite you that they're done with that because guess what everybody's doing it and when everybody is doing it, it becomes what common I want you to think about the mindset of a person that has wealth or has artistic taste and wants something different and not necessarily wealth they just want something different they don't want anything that's common that everybody else khun get they want something that's different that speaks to their heart, right? So they want something riel and if it be, it comes like, okay, I've seen that my god, I've seen that you know over and over and over and they come to one of my images and let's say it's an image that's out of focus and by virtue of our industry in their eyes it's like a lousy shot joe because it's not sharp, but the bride that looks at it cries and weeps uh that's probably my bride and there's a lot of those for everybody. So try not to think about how you can copy somebody or how how to emulate somebody are how to be the same. Try to figure out how you separate yourself from everybody else because when you stand out you will reach that little segment in the population that's looking for something that's different and and they're out there and they're in every city across this land and in other countries as well I wanna work for the person that wants something different that that's that's my goal and so it's not about better it's how do I make myself different so if I'm still shooting film today and people have said this to me over and over why you still shooting film everybody's gone digital ah if everyone has gone digital I'm the on ly moron left shooting film who's different it'll be me I'm not looking to make a ton of money and shoot hundreds of weddings a year I want thirty weddings I want to be paid well for them and typically it's done by someone who wants something completely different because they're over seeing all the same all same all we all have access to the same actions the same filters all our little photoshopped techniques and we're starting to look the same it's generic so now how you gonna undo that I start thinking about and here's where I say we all start the most important thing about photography is who you are and I said this here the last time and I'll say it again this time the most important thing is how you affect your own work how you affect your clients by who you are and if you hired based on who you are that's your difference because the person that hires you runs you across the gamut of others that they've met and says this person speaks to me this person's different this person is who I want to be photographed by and there's your difference so start thinking about who you aren't and how it affects your work. Why do you shoot the way you shoot? Why do you do like in my case, why do I need this interaction with my clients? Because I want access to them if they get to know who I am and I get to know a little bit of who they are before the wedding. It's like old friends meeting one another it's not like the vendor just shows up all of the sudden there's my photographer it's they know who I am and I make it a point. I want you to know why I'm there and who I am. I am there. Do we have any other questions? You think I think we have a question from the in studio shoot? I mean it's going back to something else now personally asking it. I noticed the two cameras on on you know, I was just curious when you're in the getting ready room because usually they're fairly small. What size lenses were you using in there? So that's a great question it's an awesome internet, too wants to know what's joe what's that equipment all the questions, all right, let me let's just get that out of the way, so I'm shaving with two, five d mark threes totally cannon sponsored explorer of light love them love nikon before that as well so for me it's not so much about the gear even though the cannon speaks to me the best and it's the most uncomfortable in my hand um but it's a twenty four seventy and okay so just ah really just get back down to basics for one second I have any problems right now and I need surgery on them so movement for me I don't know if you saw on the footage I'm slowing moving right now and it's only because I you know after the surgery I'll be fine which is in october but so I like shooting with primes sometimes and I'll have a fifty and eighty five one two fifty one two I have two twenty four one for I have all those lenses but what I've been doing lately because the lenses are so good on my cannons is I'm using on ly zooms twenty four seventy is like my main go to lens that's the one you see me shoot most of time that's the one that has to flash on it the seventy two hundred two point eight I love that lens is my favor outdoor linds it's phenomenal is the one I actually I shot the first glance when he when when test turned around that was shot with it I believe it was the seven, eighty, two hundred I'm not sure I can vouch for that right now on dh then I shoot the sixteen thirty five and one of my all time favorites, and people don't think about shooting. This is the fourteen millimeter to point a rectilinear. It has the view of a fish eye, but the line's air straight is meant for architecture. So when I'm in a room eyes a matter of fact, I'm making a point tomorrow to show you in the post that I shot that firework shot with the fourteen millimeter and there's a reason, and I'll explain it tomorrow. Why did it with the fourteen? Okay, but yeah, it's an awesome, so pretty much that's what I use, and then one flash on camera, and I know you guys saw probably the frenzy that I used I used a little light on on top of my camera, and during the first dance, just add a kiss of life to the subjects while they're dancing. So what I tend to do is flash on camera with the twenty four, seventy go full length, bouncing the light, and then I'll take the seventy two, two hundred with the frenzy on it and light them and coming close, I want to see expressions on their faces and coming close and just add a hint of light because that becomes in my program oh available light, right? So and sometimes it's even dragging the shutter into some little movement to it it's beautiful it's absolutely stunning and I control the light. So instead of a harsh flash, even the bounce sometimes can be harsh uh, a little hint of lights just adding to it allow me issued in p mode that's what I call on dh I can't quite see from here. Are you also using a battery grip? Yeah, all my cameras have battery grip and for the sake of not having to swap out something else again and I'm using my left stars cars they're usually sixty four gigs, which is whoa, hello I could shoot two weddings on one of those cards, but on and I know people freak out about oh my gosh, you know, I only sixteen gigs or eight gigs because what if I lose this? I've never had it happen, so you know, until that day it's been pretty good for me and I know in the beginning stages of digital I was a little concerned about that, but I think they were two hundred fifty six megabyte cards or even less than that, if I can remember the very first ones they were ridiculously, you know, and yeah, I did throw a couple of those in the wash one's uh, with my wedding on it they survived so I'm thinking, you know what? I don't want to change cars I don't want to change batteries and the other reason there's balance so when I have that flash on camera and I whip it sideways like that without that grip, that thing kind of hank's and makes me do this funky grip where I lock it in under my arm somehow the camera so it doesn't move any further and after a while I come home and I'm like this you know it's no so the balance is really nice for me I like it and being able to use the vertical shutter is awesome. There is was there a battery pack for your flash? Yes there's a dedicated battery pack. I know I used to use the quantum's a long time ago until I fried out to my flashes because the recycling time on those air so quick but they also overpower the capacitors and your flashes, so if you do multiple in a row, eventually you'll fry that capacitor and in the middle of a wedding I still carry two flashes just in case it did happen to me on a job it's the only flash I had and I had to think out of the box on how I was going to light because my flash was gone because I fried it with with the quantum but so the dedicated nikon has them too they just carry an additional eight double a batteries and they help to recycle time they're not as fast that the quantum but I don't know if you noticed I kind of measure my shoes I don't use motor drive at all it's always single frame I want a time it myself and even if I do multiple click click but it might be click click click click click click click you know it's just I don't like motor drives for that reason and then imagine a motor drive with the flash never works by the third fourth frame you don't have that flash recycling anymore you must have the fastest finger around does that breakfast before you came in we were talking about how fast your shutter seemed to be going off we thought we were your own power drive I can't believe you were just going boom boom boom no no not finger and here's the trick to said well how do you do that because don't you fear that when you let go of it then it has to re focus now actually I learned a really cool trick on these cameras you depress it it goes off let you finger up halfway it stays focused it doesn't move press down again so I only let my finger up halfway and it never focuses is like its own man you're focusing mode so I can do that by the same token, if I focus and I move over it's pressed halfway down, I move over, I fire I let it up halfway I fire it stays there so I can keep it locked in by virtue of where my finger is on that's again practice! Look, everything I'm saying to all of you today you khun do I'm not the only one that can do this? Trust me on this the gears so good it's! So intuitive. I don't care what you're using. The thing is, is that you have to practice. I got to ask the six of you and I would like to ask you guys out there. How many of you in here and out there? I have read your camera manual from front to back. I see zero hands in here and I see zero hands out there. I don't know one person in ethiopia. There it is. Read the manuals. They give you so much info on the custom functions of your camera it's ridiculous and then practice them. Oh, my gosh! Custom function for in the back back focusing brilliant shutter release in the front focus in the back I like it so you know how many people love shooting that way, it's it's amazing! So you back focus move over fire fire fire fire fire back focus let go of it so you could move your camera around and fire without fear in the front of focusing and refocusing and focusing somewhere you don't want to focus right? It did, emanuel if you just read that and then practice some of those things that would help you is absolutely brilliant and then you figure out after you do that a while when the camera will fail you and how to compensate for that's how I landed on p I shot manual first so I'm not a dummy I'm not going to everybody out here go shit program right away don't do that learn how the camera functions by shooting manual and controlling your f stop and shutter speeds understand the relationship between them then try aperture priority shutter priority in different instances, you know, dragging the shutter as you using flash and there's movement panning with it being stationary rare curtain sink front curtains sink all these tools are there for a reason and for certain ways of shooting okay, in those moments when you nailed all that stuff down, you'll end up hopefully some of you anyway in p mode because it's like what took me so long? Well, I had to learn the other methods first I'm not saying don't try people I'm saying there are you have to understand light yes so when people say well okay so that's easy I'm going to do that well no actually I know the value of that scene selection I'm taking by looking at it I'm seeing eighteen percent grade are looking for average meeting I'm looking for spot metering oh my gosh it's not there guess what I do I move all the way over here lock the meter come back and focus because I figured out there's my spot metering or maybe on the wall right there that's my average and then move over so you have to understand life and you do that by shooting in manual she learned what that camera khun do and how you perceived and how the camera perceives the light that you're looking at it's all about the light or the absence of it all right we go on good stuff too okay let's keep going yeah I'm like slow on this our night we've got quite a way and we see this one we have two guests here in the mirror I see is that with or without flush I think without yes yes no I feel like everything is fine okay I'm always jockeying for position and then I'm off right so I try not I don't know if you notice how fast I move I move constantly if I see something room in one corner of my eye I shoot it then over to the other I'm always studying feeling these moments out and I never stay stuck on one thing and then hang out there find different positions look I'm shooting between her arms right here I saw these quick little moments where the makeup persons are more moving and I saw portrait's in the middle of it so it's one of the fleeting moments right? And like I said, I don't want to really stop the action so it's always on the fly as much as possible yeah see, I wasn't sure what am I gonna do? We did that whole shoe thing and then I remove them and what else is there to shoot now I'm back over here I hear noises from other rooms look and then this happens then I zoom in I know what this is I still remember it then she's whoever is holding the camera I'm shooting what I see on the screen in between the heads see that the camp see I still remember that's what happens when you shoot moments when you get home from the wedding you'll sit there oh my gosh I remember that moment well I remember that moment on I can still feel that moment all that stuff come up you know what else when the bride season she remembers the same thing that's what this style of shooting will do when my bride opens that her graph e book twenty years later and looks at the images she goes I remember what I was feeling in this moment I remember what I was thinking in this moment that is my job. If I can make them relive their wedding twenty years later like it was yesterday then I did exactly what I was supposed to. I gave him all those memories back that's what it is for me when I first started into this industry eighteen years ago I call this lovingly grip and grin photography. It was all about the post images ok is shot, hostel block it was posed after pose after a pose and I would see these wide albums with the little oval windows cut out with the gold trim around it and the bride and groom superimposed on the steeple of the church looking down at the flock because I knew exactly when I opened that book. It was the book I saw a week before that the year before that, somewhere else in another city because it was all about who and nothing about what, when, where and not really nothing to do with what happened at the wedding. Okay, so that's, why I set out to do what I do now in with thirty five millimeter gear in eighteen years ago they blew me off. They say you'll never make it no one shoots like that you have to use hostile blot you gotta use stance and lighting gear and power packs and you got a light up the dance floor you do all those things I said but then it becomes a production it's no longer a wedding to me I want to do what percent would have done do want no would have done had he been alive today and he was shooting weddings how would he shoot he'd be standing back there with a little like range finder of all things looking for the straight lines in his view finder and nailing a bunch of shots maybe sixty maybe one hundred throughout out the whole wedding and every one of them would be amazing because it was studied it was felt instead of all posed right okay like I said if you guys have any more questions jump I do oh good I chose to come to this class just because you know the title the photo journalism I love that idea loved the concept to be able to shoot a wedding in that style does your business model though allow for you to just take all these shots and try to capture these individual moments because it would seem to me that you're not getting the great print photos I mean you're capturing the story from beginning dan which is I think is what our job is to dio but when it comes time to actually getting paid for what we dio might be more difficult to say this is going to be a great print this is going to be a great print one and so forth ok, good question. Good question um I got a couple answers for you number one the client that hires me based on who I am and what I show them hires me exactly for that the pj style stuff they don't really care for the forty by sixty print or even the sixteen by twenty they might want in eleven by fourteen maybe six of them and they want me to sign him and that's gonna hang up the rest is going to be on their piano eight by ten five by seven maybe on their dresser somewhere in his office where he's ceo of some corporation on in their book okay that's pretty much is that's number one, number two my style of shooting and this is developed over time initially I started shooting this all by myself. Then I realized I needed help so I hired a second shooter and loan behold, because I was the studio I was the name and people were tiring me. I was beholding to them in terms of doing all the formal stable shots everything mom won because he was paying for this mother and dad, right? So they wanted all the poop oh, stuff not necessarily the bryce you saw a little bit of the artsy stuff that I was doing and love that but mom said don't know what but but and then I would get three pages of shot lists, one hundred fifty images that I had to set up right uh and my second shooter's work would come back and I would go wait a minute that's what I want to do what's up with that this is what I set out to do a second shooting stuff I'm the artist here, so what I've done is I've hired rich who's the primary shooter I'm the second shooter rich will do all the posing rich will get that beautiful shot, light it off camera flash he'll do all that stuff he's my primary shooter while I run around like an idiot grabbing these moments that I see so whenever he's around dictating the image in terms of getting people together, I help out because I want to have a hand in it and I might set it up initially loosely or of rich sets it up first very traditional they still you know look, weddings are still about tradition you gotta have some traditional images so ritual put together a very traditional pose and then I might loosen him up I'll say okay, open up your jackets, ok, lena and I do it very fest very fun like and and my personality comes out I'll even show up no no no no put your hand you're popular lean on this shoulder give me some attitude man uh this is a geek you shoot so I loosened up a little bit then I step back so I shoot a couple frames than rich comes back in and so it's done very quickly I don't know if you noticed how fast we do that we crank through these things in fifteen twenty minutes we're done so eh? Yes I do get that because I have a primary shooter which allows me and he's a good one allows me to freedom to shoot the way I want to shoot. The reason I do this is that this is my passion. The last thing I wanted to do has become my job if I start to do nothing but posing which is contrary to how I like to shoot this will be my job. This will be my nine to five that I eventually will burn out from hate and not ever want to do again. So in order for me to stay fresh, I need teo get someone else to do the stuff I don't want to do, so I hired someone who's totally cool with doing that and he or she because I have more than one primary shooter besides rich they put their own spin on how they do things on I allow them that freedom because they're artists at some level right? But I like people that like controlling lighting that like setting up things because it's contrary to what I like to do it works out do you let your clients know that someone else will be doing your those kind of shoots or do you just I know that's a question that's a good question so the portfolio starts with because typically who I have in front of me is the bride and her mother okay all right and sometimes it's the bride and the groom to be okay uh and so the bride falls in love what I'm doing first his pits just my work and I do it by virtue of having eleven by fourteen prints all hand sign because you know once they're signed their art I'm just suggesting I don't call it art I'm just signing it in case you think it is on then I match them to sixteen twenty and I tell a story by the fourth image if that bride in front of me is crying she's my bride okay then mom was sitting us this is all lovely joe chess I think I clearly see my daughter is just now fallen in love with you okay so but just for me because all my girlfriend from high school will be there a table number fifteen do you do table shots who it comes richest work I will pull out my primary shooters work okay and that's by looking at a graph e book they'll see a complete wedding and you'll see all the post images in there as well and that won't be mine and I will point it out so as they flip through the pages I'll say yeah these were mine by the way this was riches or you know this was haley's or whoever it might be I will point out and specifically if the mother of the bride is looking for that we go right to the foremost the table shots whatever they might require and I'll show him their work so the bride at the end of the day goes wait a minute you don't do those go no you mean your online show yeah mom goes you mean I got my own shooter yeah you mean I can pull him and drag him around from table I said yeah please do that please I beg you thank you very much. Yeah and that's what's great about that let's see riches doing these formals right he's shooting the formals and aunt harriet's there and he sees its rich I'm in the background with my long lens and I'm just grabbing shots of the little girl falling out on the side there you know with her a little poofy dress it's really cute stuff moments reception time comes around and harriet with uncle henry's on the dance floor. They've had a couple of glasses of wine and they see is shooting and harriet goes to henry henry, get the photographer, we're gonna take our picture and so henry sees me, I'm closer and he comes walking over to me and I'm holding my long lens and she screams out, no, henry, the other one, the real one! Yes, go to the other one thank you, it's. What allows me the freedom I surround myself with very good people at what they do so that I could be good if I had to concentrate on doing all of this because I never I was able to relinquish some of these very important key elements in what we do to someone else and that I had to do it. I couldn't be this good at what I'm doing, you know what I mean? My the thing that makes my heart sing are these moments and to be right dancing with these moments and being in the moment with these moments, that is why I do what I do if I can't and have tto watch if I can't trust rich and I have to watch over show or what he's doing and freak out about it and control him and said, I need you to do this now and do this one I've lost it and a lot of us, as business owners do that we feel the need to control all of our business. I get that, you know, you're the business, you're you're the owner. If you don't have a handle on it, you lose it. But there's a fine line of where you need to let go and hire good people, do what you do best and delegate the rest well, put just beautiful, beautiful words. Thank you all of them love that it's all about trust. Yeah, no, it is you know what I like to do? You were how much you are a psychologist, that a wedding? Do you know that all of you, our psychologies don't have a license? Uh, you probably most of you haven't been educated in the world of psychology, but you you are one of them at a wedding, you have to think about it for a second. You play a key role on at some level, how this unfolds and how you again, who you are and how that affects your client's, right? If you're a diva, how do you think the bride's going to respond to you on the day of your wedding? What if she didn't discover this in the interviewing process and also you show up and you have airs about you need to hurry up with the make up you know I'm losing my light and if if you're not out here five minutes I'm going home and I've seen that done by the way I saw photographer do that what do you think that client's gonna think first of all she's going toe deflate every time she sees you so when you take photos now she's not gonna be happy to see you and that's going to reflect in the photography and of course who is going to be blamed at the end of the day and it should be given that circumstance anyway, okay, but often you're a coordinator because you do have to let him know hey, listen, the sun is setting right now I mean, I know you're still doing your make it but how about if we kind of take it put on the veil really quickly let me grab this rule you could help you can really be play the coordinator psychologist role should the brightest stressing out a little bit you know that may be mother in law in the room is really harsh in this moment for her she can't calm down and you say you know what to the mother in law can you do me a favor? I need to do a kind of a little private shoot in here with her for a second could you wait out here for a second and gently ask her to move out of the space and I guarantee you one thing, the bridal recognize that you did that look up at june smile and say thank you and then now you have a calm person in front of you because again ultimately, whose responsibility is it to get great photos of the wedding you and if the players aren't playing nicely or if they're elsewhere, who needs to have a hand? What psychologist is there to have a hand in making that happen? You so this is part of the first look to me is important because a lot of times when what I do, what we don't get an opportunity to do a lot of right is I just shoot a lot of orthodox jewish weddings, jewish weddings period in california and they don't have that opportunity to see each other for the first time walking down the aisle or where she walks down the up there's a catuna signing where they signed that jewish license so they meet in the boardroom or they mean in the bedroom somewhere they need elsewhere and you know the groom will be waiting there with the rabbi and the bride will step in through a door oh, hi anni oh that's a great dress that's, not exactly what she was looking for yeah, most brides that I've run into that's not what they're looking for their looking honey, please say something else besides what a great dress like can you do an o m g look for me one uh, so I know that and if I see that in the interviewing process that that is important to my bride, I will set up this first look, that is absolutely amazing. And I loved doing them and the psychologist in me will milk it out. In other words, I know what that groom is already feeling in his heart of hearts. We're gonna be doing the first look here any minute as waiting for the bride and groom and I'm going to skip over that because what I want you to see as she's coming out, he set up outside so they haven't seen each other yet, right? So I'm just going to squeeze over and look, is this photojournalism? Absolutely not. I'm setting this up, okay, I want her to look around the corner. I have a couple of different angles that I want to shoot from. I want to shoot from the front of his face. I want to talk to him when I say okay, now look at him from out here and see his expression as he started get antsy and nervous, I know that he's a sweet beautiful man and he's got a huge heart and is so in love but you see the expression on her face right? I already know that exists I'm I'm nailing that shot right of her in a doorway she's getting ready to look around at him right so I said wait one second right here and I run around on the other side and then I asked her to peek while he's in the foreground and that's my shot I go back and forth like this in part because what what is he doing? He's hearing all emotion right now and he's hearing oohs and ahhs and he's a hearing me say oh my god you're beautiful I I'm just prepping him like crazy, right? I'm tugging at his heartstrings and all he wants to do is turn around now okay, now we're gonna milk it a little longer right there. Okay it's pouring rain that she got this point okay shelia, I want you right here. Just face him. It was my seventy two hundred you'll see these images you are my friend rex urine turn around and look atyou bright to be my buddy walked him you stay there that's what it's about that's what it's about it's capturing the essence of who they are in the moment where their hearts lie with each other. This is a marriage between two people up between two communities because mohr of this goes on at reception time when they meet each other for the first time and you're witness to your part of it what an honor what a blessing think about it we're not just dead enders if you approach it like it's a honor to be invited into their lives on one of the most important days of their lives thanks that's how I walk out of my weddings is thank you so much for inviting me here that's when you have access like this if this is who you are and this is how they know that you're going to photograph them and capture this what an amazing story not only that it goes beyond this now what happens after this? She'll get pregnant and she'll invite me to shoot the pregnancy shoot and then she'll sometimes invite photographing the birth invite me to come in I'm uncle joe because I'm not allowed in is a non family member in the birthing room but I am uncle joseph that dad can hold mom's hand and doesn't have to shoot and be there with her at the same time what an honor the other most important day of their lives and so it goes on first birthday party heck yeah I'm there why not then it's a family shoot that they can not just a shoot documenta holding their family's life? I've become part of the family so my wedding photography business has now grown into something else I should family portrait ce slash days in the life of sometimes a week in the life of where I come a couple hours a day and then making a graph e book based on every day a slice of time in two thousand thirteen in this family's life what do you think they're gonna do with that book? It's not changed out like the wall shop a few years later because they've grown now the book it's saved it's handed down generation to generation because now it's become a slice of time in this family's life more than a wall photo it's awesome it's absolutely amazing and rich's covering other angles not only this and then soon what I see are the people behind the windows right in here I didn't know they were there, but look how beautiful that is not another word needs to be said they will do their own thing let them talk, let them feel don't interrupt, they'll do their own thing he wants to see her dress all the way around that's when I see the people in the window the little boy staring at them with smile on his face that will be an awesome shot questions anybody you see a little boy? Yeah that's where I'm at right now I saw the little boy as he was like watching in awe so he sharp they are smooching on each other touching each other out of focus it's beautiful just to let you know joe the entire internet is crying yes you were there that's the point go ahead I just have a question with regards to I mean you're obviously shooting like bam bam bam just lots and lots of shots how many shots do you actually come away with at the end of this day? That's a good question so that's another little thing okay, so here's what we do in this and I'll explain to different things about this ritual shoot typically seven hour eight hour gig that we do this is what we normally do seven, eight hours fif two hundred images I'll shoot about fifteen hundred images together. Three thousand there my lovely wife maryland will come into play and she will take all three thousand images and go, huh? You now have seven hundred and she goes too too too, too, too, too, too, too, too too, too and kills off twenty, three hundred images now initially I used to give my clients a ton right so out of the three thousand they will get maybe two thousand twenty five hundred and do a light edit for them because my clients wanted to see a lot and what I found is that where did that client go it was a year two years ago that I shot their wedding and they didn't do their book I'm still waiting for their graphic book to be done you know outside call him up says we can't make choices we're overwhelmed really I thought you wanted almost photos well we thought so too but now we can't choose their too many good ones so what was brilliant was male and came up with the ideas now that they're gonna get hundred per hour that you guys shoot together one hundred images per hour should be enough so now seven hundred and out of that the book typically has one hundred fifty images innit so they still have to kill off five hundred fifty images out of the seven hundred good images seven hundred images then get taken out of raw into j peg and now rich comes to play he color correction maryland will pull out some wows we give fifteen twenty maybe thirty wows because I want rich to touch those a little more as much as possible we stay in light room I don't do a lot of work on him and I stay away as much as possible from photo shop unless mom says listen I don't like the eyes in this one on me but I like the eyes can you swap my eyes hate swapping eyes I hate swapping heads I don't want to replace people I don't want to subtract people are concerned okay, so I try to stay away as much as possible so I take the twenty thirty wows and they go on what's best for me is picked taj um where they see all the images and then jos favorites folder those are the wiles so now they see color corrected and they see my wows and I tell them these right here are what all the images in your book will look like said it I educate him well, how so obviously it's your wife who's doing the actual calling how long does that take her to cut them down like that? She brutal I'm telling you right now, doc doc she's fast now she's yeah, I would say she spends a good portion of the morning and afternoon on one wedding editing. Yeah, so she starts at nine a m usually and buy two three o'clock she's finished on that wedding she's done but she's fast and and now why did I pick her? Not only because she's my wife but she also has our bachelors and fine art and she was the director of a photo gallery so she knows photography very well so I get people that really know their stuff in their little areas that I need him in right? And so she just so happened that she's has photography background and this constant looking at images so she knows you know, messing me I'd be lousy at this these are all my little babies so if I have five that looked a saying right? Which one do I like? I don't know I'm like going crazy I don't know they know I like this one number but I like she's just no no no no no it makes very quick decisions and decisions as a woman, right? Ah, who am I speaking too with these images mostly the bride yeah is more important to her in what I found the groom is important but he's more of ah handbag you know that day for the bride yeah that's right? So the bright and so if I have a woman looking at it and that's why your body does the album work it's another woman that's working on rich technical right guys they're geeks what we're left brain okay, so we're constantly and he's fast you'll see how fast he is with doing very minimal things that we do to the images but he'll then go into doing the wiles and boom boom boom he's right on its all technical stuff and the women couldn't wouldn't did it did it could care less you know they give me the feeling good stuff let me talk to the person yeah, absolutely yes man okay, I know you mentioned like with the black and white do you ever have customers asking for the color of your black and whites or do they just trust your judgment on that now they asked for him and I give it to him so in other words they there are some times where the black and whites are a choice made by maryland not based on the color is ugly because it was sixty four hundred with multiple different lighting scenarios in there but she'll find something so you know what this reminds me of a nineteen forty percent you know? So I'm going to switch this the black and white and then the clients a cat do you have that in color? Yep I do I can give it to you and then I get a lot of them saying can you make this black and white so remember what I see they hire you on not just who you are but what you show them right? So if all I show them our my art pieces and I'd say over half of them are black and white images when they hire me what do you think they want it to end of the day yeah what I showed him right I want a mix of the black and white and the color if I showed him all color and I didn't see any black and white and I showed him black and white at the end of it what they have said what yeah, there was uh one color because that's what I showed him so it's really basis so it would be very careful if you show them slide shows of your stuff don't be rice at the end of the day that they're going to ask slide shows from you me? I want to sell some product I want to sell books books are more important to me than anything else. Prince are important okay, so grafite books that's why? I showed him graphing books I walk away so that they can sit with him it's it's something got us concrete tangible if they feel that they touch it it's different from a slide show. I have people asked me before listen, how do you do that? How do you sell these prints on the wall? How do you sell these books? Because my clients want slide shows. Okay, so when they come in for the pitch what? Well, I got this big screen tv and I put on music and I have coffee brewing over here and then, you know, I show some fool wedding set the beautiful music and yeah, okay, what else? Well, then we talked about how much the packages are really so do you show them books you show them prince individual single prince hand signed with a story behind each one of them no and why would they buy it? Why would they ask for it? Why are you surprised that they're asking for slide shows what you showed him that's why they hire you I'm not for everybody there are people that do come in and say hey and by the way I have a three page shot lists and can you do this slide show in the day off? Uh no I can I can't I would do you a disservice I would do me into service if I said yes simply because I wanted to make the money I can't do it one of the things I found because that's how I did start I would be straight up with all of you I started out not being that honest to myself I took every job I could because I had to I hated him because I kept doing these weddings in the very beginning that we're all stage all formal and I wanted to do the art thing and I wanting to do the art thing and what end up happening is that the first few weddings I had a little bitty art stuff and a ton of formals and then the next client would come in and I would have nothing but these formals and he's anybody art things and then they would hire me and what did they ask for the formals? The stuff I didn't want to do so finally I got brave and I got honest with myself I'm not going to show him the formals I'm just going to show him the art thing and they're either gonna like it are there not if they like it yea that's my bride if they don't cool if someone else's bride it's okay I don't have to have them all and loan behold once they started booking me for how I wanted to shoot what I love to do what my passion is man they were hands off and I could charge more and then they would say as much as we're paying you, the last thing we're going to do is tell you how to shoot we want exactly what you showed us we want our data look like that we want you to see it that way not someone else so it took me first being honest with myself about what I wanted to do, who I wass as a photographer, what I wanted to show what I wanted to sell and what I wanted to sell me there's the difference me versus anybody else and it's not a competition it's that person that resonates with me in my work that's why I belong with that's all and there's a lot of brides out there and there for all of us each one those that higher you don't belong with me they don't they belong with you

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

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