Wedding Photojournalism

Lesson 20 of 34

Joe's Gear Bag

 

Wedding Photojournalism

Lesson 20 of 34

Joe's Gear Bag

 

Lesson Info

Joe's Gear Bag

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

ode it's very easy for me to do because I know that system inside and out, so thank you, canon for being a sponsor of mine graphics studio, I use graphics books exclusively. I just want to give you a heads up if you guys become members the swatch book the material swatch book that they give you actually is an amazing thing to show your clients because not only do you get covers, you get different styles of paper that you can print on and it's an amazing tool to show your client and to sell. Most importantly, if your aa member or a customer of graph ease what they have now are the million books this is awesome with every order that you placed with graphic between now and the end of the year thirty these books come with that order how it's used besides giving it to the climb it is an adorable little cute book of your work if you will or maybe even of that clients wedding however you see fit sticks in the pocket it could be used as how smart would this be? You want my business card here it iss a little book it's pretty cool so thank you graph the studio for being there picked taj I can't live without they do everything that I don't want to do from putting the images online letting my client's order online I've often said do what you do best and delegate the rest the rest for me is picked taj there my back end I'm just learning shoot queue I haven't done it before and I'm finding that they are amazing part or segment of picked taj in the sense that they will run your business for you if you're a new photographer and you don't quite know how to do it they do invoicing building they do all that kind of stuff for you so thank you picked taj and I know I got a couple of questions yesterday via emails as well regarding lighting and would I use anything else? And you know, if I had to choose if you're a new shooter besides what I do which is available light and bouncing the light I would use gary fong's life's fair for if you're not familiar with it, take a peek at the and the lice fear and see if that works for you it's an amazing tool for beautiful lighting so that's it for me and sponsorships um you don't have any know yeah that's, right? You're my sponsor joe that's, so they're they have it today's going to be a really cool day and you know we're open again for your questions with respect, sir, what we did and how we work together at a wedding, but what you're going to see is its once maryland edits down the images she hands him right back to rich and he does all my post production work for me, so I would like to introduce rich, who has been an incredible help to me, and like I said, you're only as good as the people you surround yourself with and he's one of those amazing human beings that helps me continue to do what I do, and you'll see by virtue of the images today how wonderful some of these images are and what we do and I think we did, is we? We've eliminated the file names so you won't really know you'll get an idea who shot what? Because who was with who is what you'll see. Joe, what was with the bride and bridesmaid? Rich was with the groomsman so that's an easy fix, but for the most part, we've eliminated it because when the bride gets her files, they are all numbered from one toe, whatever it ends. And she doesn't know who shot what? Unless she remembers, of course, and that's the way I like it, it's not about you know what? That was my shot, you know that that was my shot. It doesn't matter. In the end of the day, I just want to be able to give a client a very full idea of what that wedding was like between both of us, okay? So rich you want to jump in yeah, sure why not? Okay I think we're starting with gear first we are that's right? Okay so let's get that out of the way let's do the gear thing so here people were asking yesterday what I bring with me um now again what I was saying to you guys yesterday is based on me how hobbling around I found the need to come with more zooms that I normally do so my main camera again five d mark threes they all have the vertical grips for me its balance I like it I like the weight of it I like that I can shoot this way you'll find that rich doesn't use the grips for his night cons and it's ok it works for him that way but in any case twenty four to seventy two point eight is one of them and then the other one that you saw me shooting with this is a another five mark three with the seventy two, two hundred two point eight one of my favorite lenses on planet especially for outdoor stuff ceremony stuff it's frighteningly fast uh stabilizers in it it's tax sharp at two point eight I love this and by the way this twenty four seven he's the type to want to talk about the type one it's one of my least favorite lenses that cannon had that they fixed it this thing is unbelievable at this point right now richard tell you rich has seen the difference between a type one and type it's frighteningly sharp now where it wasn't before um sixteen to thirty five point eight I love this lens as well don't uses often ice I used to but I love this one fourteen millimeter to point a rectilinear lands okay, this thing is actually used for shooting architecture so gotta show because it looks ridiculous yes this lens is just wine so it looks like a um fisheye but you don't have the fisheye effect the lines on the edges are straight just like if you had to shoot a building you don't want it to bo too much so it's straightened now there's still a compensation you'll need in light room if you don't like the effect because it does stretch people at the end of the frame but in light room you one click button and you can adjust for it and you can bring them all back down pretty much right lenses crazy yeah um and then what? You saw me shoot the ring? I think we have a ring shot wade picks is my fifty millimeter macro I just love it using in manual focussing mode it's a two point eight light but actually said two point five this is it's what micro macro biggest double down on the ems isn't really micro macro okay all right so just molins alright so fifty millimeter two point five and I literally zoom this thing out and then just move the camera in and now to get the focus that I want because trying to focus and have that thing search for you that close of a distance is really difficult um you saw that I had the five eighty ex too I haven't gone to the six hundred yet but I probably will I carry two of them because the last thing I want is for one of them to fail and not have the backup so I always have a backup and with that is the dedicated battery pack that can and puts out and by the way if you're nikon nikon has to dedicate one's as well they come like this is very simple looking thing it holds eight additional double a batteries and that's it on that you saw me working with a available light kind of light and a lot of people use leads I like this one it's called a frenzy or fresh cellini it has a light box that you can stick on the front of it this I found in a um I'm gonna show you why initially I wanted the video light and I wanted to put it someone emailed me about this I wanted to put it on the hot shoot right and on this lens in particular because I was trying to get these wonderful portrait shots but what I found when I hit the light on this thing it hit the front end of the lens and cast a shadow so I said, how do I get this thing out here? So I found his bracket in the video ah, store and it was meant as double lighting sideways on a cameron put two lights on, but since this it was square on the bottom for a hot shoe I said, well, instead of sticking it like this and put two lice on, why can't I do this lock this thing in and extend it right in front of it? Which is what it did so no longer do I have the shadow that the lens creates awesome little tool. I think we did get some close up using the president. Okay, so you'll see the difference because while I use flash as well and I like to bounce that there are times where I just want a little bit of available light and I can dial it in so the presidency for me allows me to just dial inasmuch auras little light as I need in order to get what I want buzz of records before you came in with little item there yeah, so this is this is here's what's cool about freddy's, right? While tungsten and warm light this is the thirty what they have larger wattage bulbs that you can replace this with yu can put filters on here as well so if you don't like the tungsten you go with daylight filter um the battery pack and this light I think you can get for around three hundred four hundred dollars okay I use and that's what I was going to go to next that phrase illini battery pack that is kind of belonging to this little light last on full power roughly thirty minutes I kind of like to be on the safe side and in case I need more than thirty minutes which I've never needed actually and it's bulkier it's quite thick I use idea axe and it's called the endure a seven s this will run you another four hundred bucks you get a couple of these batteries and a dual powered battery powering system right? So to these batteries plus the dual power plus this is about eight hundred dollars is what you're looking at okay for me on investment totally worth it totally worth I love this system the way they've been using it and that's kind of my thing this stays in my pocket I clip it this is my cards are this is what I use and ridiculously enough what I usually have is one hundred twenty eight gig and a sixty four gig when I go to a wedding one hundred twenty eight giger goes on to this the sixty four giger goes on this and when I get back home at the end of the day, I still find I have nineteen hundred and ninety nine images left to shoot on each card. Because there's not even near being full anywhere near because it starts out at nineteen ninety nine that I have and I ended nineteen ninety nine so it's been okay? I have had no issues at all. I used a thousand speed on lex are is another sponsor of mine and I know they have never failed me. So I know I get a lot of people asking me why would you shoot one twenty eight? What if the whole wedding? What if you lose that card? Well, hey, I don't ever have to leave it out of the camera. I never take it out. So it's always in the camera so I never have to worry about that. And I know people have had horror stories about losing images, but I've found that most if not all of the people that had a problem retrieving images were able to right, well, I was going to say there's some programs. I remember the name of that right now, but there's a programs have used and you, khun, go back like three, four minutes. Three four minutes you confined images from like three four months ago with three weddings wow, I didn't even know that it's wild I mean probably degrade degrades the quality after a little bit but it's still but you can retrieve it you can retrieve it. Yeah, okay, so there you have it. Um was there any other questions on this? Yes, please do you shoot like a j peg back up in your in your second slot are now minus what I've been doing so far as medium raw on and as you can see with some of the images that we picked for images to give the client today and we had them printed and their tiff files right? But how big are they? One hundred we'll do two files are they are they get up to one hundred twenty one hundred twenty two megabytes for an image? That's ridiculous, right? So I'm fine with medium raw and not backing it up to j peg I don't know if it slows down the speed of capture probably doesn't I've never had to do it. I mean, I don't know it depends on the speed your cards but I you know, we don't think the on ly time where I can see that where it would benefit me is this I've had often celebrity weddings where I've had to put out an image literally the second after she walks down the aisle back towards me and this was j lo's wedding where I had to put an image online right? So j lo is walking back towards me as I'm shooting and when she got to me she said okay, let me see it I turned the camera around and I went through the cameras she goes okay, that one and she kept walking down the aisle so I went that when I pulled the card out gave it to my assistant at the climb downloaded and and had to convert it from rod ajay pick and boom it was off it was a j peg could have been done right away, so I took a little longer but it didn't matter and I don't get that that often that I have to do that, but yeah, that works anything from the internet. Yes, sir. So benson diego would like to know do you guys ever do off camera flash off camera lighting? Well, when you say off camera this guy's completely off camera and says that he holds it a lot of the time I do yeah, and one of the time, especially during dancing in that kind of thing, I have a tether you'll see it in my gears well and I just one hand on the camera one hand up here and I just hope my wrist doesn't fall apart but yeah, it doesn't mean, you know, if I need toe change the lighting I can I can do across this way sometimes where I'm shooting this way and then the lights coming from the other side say there's a person in front of another person shoot this way, sometimes it'll be a shadow so I can and then the other cool thing about that is that if I want to bounce it, I could just up it on the flash manually and bouncing the wall behind me somewhere without having toe, you know, turn the head around and you know all of that so it's pretty pretty quick for me yeah, other than that we don't use any lights to set up and I see a lot of people doing that where they put up the lights stance in the corners and the add additional flashes toe fires as well, it would be fun to play with but way haven't done it I mean it's usually just enough available like, you know, around and you know, if my cannons in particular I mean, I I shoot sixty four hundred s o so I I literally I'm mostly an available light guy, so it's it's the flash is rarely pulled out unless I needed and yes, it was raining that day here, this last wedding, and it was harder to use available life, but I still managed to get it by bouncing it off the swag ing inside the tent. We tend to find things like that, and all you really need is worst case scenario, and if I didn't have all this equipment, I'm gonna have to tell you what I would add to this, which I typically bring with me is an eighty five millimeter, one point two a fifty one point two and twenty four one for and the reason for that is is that I like shooting the one point two lenses that like, one point eight two f, too, because if you're asking your little tiny flash to bounce a thirty, forty feet and come back at five point six, it may do it once. Probably not. It'll probably come back f four and being slightly under, but if you're shooting at one point eight all day long, I can pop that flash all the way out there and come back and these lenses are amazingly sharp, you know? What do you think? The sharpest point of the lenses? Any idea? I mean, this is a cross manufacturing it's the sharpest point of the lens any lens is roughly two stops over. Wide open so if I have a one point two we're talking one point for one point eight between one point eight and f to issue sharpest point so if you're using a four point five lengths let's say five point six f a ce o your sharpest point on the lens there's faa or f eleven somewhere in there well how often are you going to shoot f eight or eleven at a wedding? I'm never right before ptolemy's now I'm learning you know let me explain something to you s o it is exactly that it's two stops over wide open okay so I like those lenses are made to shoot just about wide open and then maybe stop or two over that so if that's all I have to do and then bounce flash it's easy it's harder to do at two eight right? Because now I'm looking at what three point two three point five so I have to at least shoot a three point five so to bounce now three point five horses one point eight is two more stops it's harder to do I do it but it's sometimes slightly under so that's kind of my m o for bouncing and off camera flash charles is wondering if you ever use a gel on your flash what we never gel are flashes I don't mean just to give you fbi I everything for me is otto white bala rich tweaks. And later, yeah, that's, right. And even in mixed lighting, like I said yesterday, it's, like it becomes black and white, you know, if it's really ugly on dso to add another thing for me to have to think about by adding a gel to create a certain I just don't do that, it's. Just one more step that I have to think, right, and I mean if it's, for some reason extreme, the coloring in the background versus the color from the flash than there are ways to use the brush in light room toe, add a warmth or, ah, cool, just using the brush tool, which, you know even then, I don't hardly ever need to do that, because, yeah, the flash usually does a pretty good job one way or the other right, white balance is fine. Yeah.

Class Description

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

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

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

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