This is totally unrelated what we talked about earlier but I was like you know what the instructors get your kind of your signature shock you cannot describe that happened what about eyes a light real coming through the door you know I get that asked a lot actually interestingly enough this is an actual real wedding I entered that w p I competition and initially the judges I didn't want to scored because they thought it might have been photoshopped you know, they questioned that the church was emptying the back well it's a real wedding uh small hundred people big church in santa barbara and the whole back of the church was empty so what I did here was this was in p mode I'm gonna actually stand up and do this and when I initially the doors were open and I watched the bridal party walked through one by one you know the ring bear the flower girl everybody's walking through and I'm shooting it and I had a chance to look at the back of the camera a couple times and I think you know I'm won...
dering because I know in this church have shot there before they closed the doors and then they open it as the bride comes through right so the two ladies on the other side that they open the doors and the bride walks through now this was one wedding where the groom had not seen her before so I said I really want to make this a very powerful moment and this is always backlit by the sun because they keep the outer doors open a lot of churches they don't but in this particular church they do. So what ended up happening was I tried to figure out in my mind's eye what would this look like if I overexposed it? Because if I'm in programme mode what's gonna happen is going to pick up all that light and completely under expose it and she'd be silhouette but what? I want to seize a the details and I want to see her face on the shot so I thought of this right as they closed the doors and I'm going, oh my god! So what I did was I quickly as the doors were being closed, I locked my meter right here on the ground I took a guess somewhat educated one that when they open it it was going to be blown out here but not so much that this was all going to go away. So this is actually her father's arm on the outside of it and when he saw her and the actual image here you don't really see it she's got really angelic face right now in this shot and he sees this for the first time and I turn around and I grabbed with a long lens his expression that was the whole point of doing it this way I'm on my knees on the floor twenty four seventy on this one turn around seventy to one hundred on him gotcha and then in the book I'm in my mind is opposite each other so that it's a moment right what was really cool eh and worked right and then when I showed him at the reception this image he wept just like he did when he was in the altar he wept again he relived it so I'm thinking too I'm really cool with this aren't because next week I got another wedding here I'm going to do the same thing all right and that the same sun the same time loan behold I know I'm got this down now I know what to dio doors open upping being being being being I look at the camera no it wasn't there ok pasa what happened and I'm looking this image across the next week's images what the heck happened here how come I'm not even close so happened the only difference was how far parts these doors were I timed it in this one so perfectly like at that split second the light creased often the edges of the doors and created beams were in the following weeks wedding they were either too close or too open they hurried opening the doors on that one so it was all about the timing between the ladies and me so this is a lucky shot I take it I'll take I'll take it but that's it right it's that's that's that's what it's about for me if if that group comes back at me at the reception and starts to cry again that's what it's about for me because he remembers what he was feeling and he's just reliving it that's the same thing he saw that I saw it's like an angel dropped down from heaven that walks through those doors was awesome okay I now I'm a second shooter it's a really seamless thing dance that we do this is his gig now now it's his turn to do what he needs to do for me as you can and then um let's see let's make sure we have father I'm just hanging out um I so you know we walked around previously to this and tried to figure out where to do these set ups wei had nowhere outdoors that we could do this and then I saw you know what? Why not? This deck just is just this front porch I think would work it's got an overhang it's got some available light and I told him you know what flash fill it a little ah in case it's a little dark in there great that's rich looks great let me get my settings right because that's kind of part of the whole deal yeah because you're a photographer rich yeah looking good alright can you not like that face joe just question is rich also shooting on p now rich actually likes manual ok he lives on manual mode and we bandy back and forth like if it isn't about nikon and can and it's about m and p yeah you know and and me is I say p for professionally algo m iss for master thank you so I'm looking from the side again it's available light and everything like you guys are looking very nice everyone's looking and he's always double checking because that's that's how he functions he wants to make sure it's all nailed the lighting's there the flash went off all right is there any breakdown of this that you'd like to do maybe we now we didn't get a shot list so now we put it to them is their breakdown you would like is there you know combinations and we'll come up with our own first but we don't know the family dynamic sometimes there is ah a stepmother that maybe not a favorite person in people's lives you don't want to be posed with so instead of forcing it we're taking their suggestions you in the mood for another photo right thanks guys so the three of you ladies that's the idea all right you don't have to do that click out over there is the second shooter that was my shot when she went she's very animated yes let me get one vertical version and we'll be in good shape when they see let me see let me see very good yeah that's they way I tio girl way well that was what happened so that that was great honest it do you want to do one with your grandmother? Just the two of you come on let's get her over here and then we'll add death into that shot afterwards hang on, I'm gonna go now, okay? And then uh that's that's perfect that's a very I'm just letting him do this thing and he's you know again I pick people for who they are. I mean, yes, they are they need to be good at what they do but I love riches personality and people love him and that's it that's what gave me the heads up first? Right when I took him to the first few gigs and all the people that were at these receptions fell in love with him. So that's that's who I want to be hanging out with right there great asked me for all against the word of some photographers that air like this will be how your day goes like so they make sure they get certain shots and some obviously bride and groom like they wanted planned out the way they want planned out and I want you to just deal with what they're talking about giving you like do you you mean like a timeline because I get timelines from coordinators all the time so I deal with high end coordinators that you know we'll send me the week before two weeks before the timeline of the wedding and then he and I will look at the timeline but we already know what our respective jobs are so it doesn't really matter what the time line says he knows he's on for all the formals he knows he's on if there's going to be table shots and we'll be in the timeline he knows he's on for those things so I we don't even speak about it it's just like we just go right into it once I have the bride and groom alone and I might do the portrait that's okay with you go and then he'll grab a couple portrait of the bride and groom and what he'll do is he'll muss it up we're almost set up another I want something different so if I set up something you change it for me if you set up something I'm gonna change it for me you know what I mean so it sze unspoken dance we don't really need to speak to one another were huh together now was for six years we've been doing this so it's fairly easily yeah in the beginning I had to tell him okay so now I need you to do this part and then we would write on the timeline r j you know I mean we would rack it out that way he's always with the groom I'm always with the bride and that never changes usually including with celebrities is a matter of fact if if this had already happened to me mail he's still with the man I'm going to be always with the bride pretty much that's who I saw that actually brings up a question from the internet profile photographer ah long time viewer here on creative life how do you communicate with rich when you're are far away from him do you have hand signals are clearly defined shot list no wait yeah it's it's we don't communicate long distance unless I d'oh you know handsome sometimes I might say hey, you know I'll get his attention eyes and I'll say you know when they you know kiss and then I'll go around and he goes you have your own baseball signal it's a whole thing on the head yeah, no way don't have a shot list we don't have directions for us it needs to be free flowing day so coming into the venue this was the first time for rich yesterday you know and we normally way don't go to venues beforehand to get the lay of the land sort of speak I happen to have come here before to meet tests and shelia first so that's how I saw the venue okay, but we don't scope it out because we want to walk in that day free open minded because if you think about it when you scope out a venue you having presets in your head already, right? Well I'm gonna use this space and then you know when they do their thing over there okay, maybe I can use that new look so you come to the wedding and what do you have in your hand thoughts you have these preconceived ideas from your scoping out from the week or two weeks before our month before I'm trying to eliminate I wanna walk in he wants to walk and go ok what are we going to do and we just do it it's on the fly make it work one way or the other and we don't worry about how stressful it might be, you know we walked away saying, hey, those rooms were kind of craft and we had a lot of people in them well, we didn't feel it right then and there when we were shooting I just work with whatever's there I see and feel all the commotion people walking in front of camera apologize no it's okay it's all good and then afterwards I'll go whoa, that was a tight space dude and he goes yeah online was tight to men but it's it's we work these things out so if I have a shot list, if I have tohave communication back and forth, that makes it kind of hard to just flow with it. And I was saying yesterday too rich is it seems like we work best when we are challenged. When we have challenges on the plate, we really, really work well, I mean, our images are amazing if it's all laid out and they spent two million dollars on the wedding it's a piece of cake, right? There's really it's all beautiful and you expect it to be beautiful because they spent the money on to make it that beautiful. Okay, that's cool, but I feel sometimes I really walk away with a piece of art when it's very difficult for me to shoot. I find something because it makes me go even further to try and nail what they're looking for. So I go even beyond, you know, I'm trying to be even more in the moment trying to find what am I going to do in here? And it's somehow just comes out. I concentrate on it just feeling good, more let me check and now we're gonna do one my way for a second, ok, you'll notice rich talks a lot back and forth and see I change it up a little bit. Because I don't particularly care for you I want to see I want to see arms I want to see hands I want to see them hooked together they get married god I love that ok I'm good I'm good that's it dunno next um yeah do we want to do anything with anybody else that's standing over here right watch the cabling I'm gonna squeeze past this because we got a bunch more to look at so you kind of getting the idea right now what I'm doing here and I don't know video caught this while he's shooting the little flower girls in the top window above and I keep seeing her and she's got her bottle in her mouth and she keeps looking down and every so often peeks out the window and finally long smart opens the window and the little girl sticks and heads out that's smiling and pulls out the bottle on hold and she's grinning from ear to ear and this is huge shot both windows in this little tiny girl in the middle of the opening was so sweet and I just kept my eye on and I kept seeing it over and over and over so while I'm here I'm also up there I'm constantly watching wherever I need to watch look I animated he is you want to do any others with you were good at that together about three thousand my wife my wife straight okay everybody else on on and then you know, father theo, see the girl up there? Yeah, yeah, I'm watching it, but I have video did catch it right, then the little guy click that's, another one right there as he's hanging out everybody. If you're not thinking you're, I constantly robes, it's in constant motion, and I'm just reacting to things that I see if I have an agenda, I tend to see les it's, just like a horse with blinders on, right, I see less because I'm thinking about things. There she is, you stay let's, just have you stand that's, very good. All right, um, yeah, actually, sir, want you go to the end, that's. Great.
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