Reception Coverage


Wedding Photojournalism


Lesson Info

Reception Coverage

Being a look at that rim lining right there so imagine it from my point of view okay? Now granted as you can see, the overcast of this thing was purple on and they don't have to be correct it later but having said that that little phrases a tungsten lighting is throwing some yellow on and actually the skin tones look a little more normal and it's not purple now from that perspective but you can see the light that fell on that from from from that side from actually from the other side there's a rim lighting on it's on my side of it what I'm seeing is a beautiful kiss of light it's absolutely stunning see the difference when that went off boom lost my life now full frame against bouncing my life as much as I can there's my light again see the light that I threw on it you can see it it's beautiful she's the hint of light and its constant and I can control it because it's got a variable switch on it right? So aiken make the mood whatever I wanted to look at the light coming on him right th...

ere you can see it just and I'm trying to time because they're talking I don't want to interrupt I don't want to say hey don't say anything it's my job to time questions about frenzies the lighting was really curious about the the frenzy okay it's a video so let me tell you how I got to that it's it's actually a cool little story in the beginning stages I I used to see a lot more videographers on my gigs that I do now there's less and less of them that's a shame because I think video still a good idea um but what I would do is there was for awhile videographers had this nickname amongst photographers I wasn't one of them because I actually appreciate it and that's how I got to the frenzy they used to be called video it's photographers hated their intrusion of light I'm going but why is that? Because they're actually adding light if you know howto work this light and what to do with it when they do it they're pretty cool he's got to figure it out so whenever a videographer beyond a dance floor shooting the bride and groom dancing I'd be not the opposite end because I wanted rim lighting I would throw in programme mode and I would get these beautifully silhouette it shot with this beautiful room lining from the video light and then I would go on their side of it and have their available light and I never use my flash it was amazing and then one day I'm at a wedding and no videographer and I went oh my god what am I going to do? And then I realized why don't I get a video light? And so I stuck it on the hot shoe and now I'm the videographer that shooting still sort of kind of but that's how I got to the video light is that I can add a ce much or little light is I want not only that, but can you imagine a cake cutting? There is the bright and white there's the cake in white and there's your flash pool and what do you get totally blown out stuff okay, unless you're bouncing it number one and you bounce it a distance away and you're just adding a little bit of light but with my friends it's awesome because I just asked my assistant like me and she'll like the bride and groom's just their faces not really touched the cake that much and I'm in p mode and I'm shooting program beautifully lit scenario with the video like so I love that many a life so joe, you use not tungsten yet light there as a poster and led about how's that power? How long does that last? Okay, so so that particular on his thirty watts evolve on it, the battery and god is ah, a battery pack that wasn't part of fred's illini I bought it outside of this idea, I believe is the name brand it's three hours on full power I don't need it that long I think one charge on that battery last me about ten winnings because I don't use it that often I just use it when I still shooting in p mode long lens and I just need a little hint of light just add because they're in a dark space and rather than trying to move him somewhere where it's like beautiful for me I need to leave him alone maybe and maybe add a little bit of light may be the flash is in the right light and led these it's cool it's on the blue side I like them warm so I like tungsten where it's yellow side this warmer s oh that's just my choice now those lives do get hot ladies don't get hot they're nice there's this stay cold and cool but again you know it's all about your flavor when you like because at the end of the day you throat in post and you tweet the led lighting you tweak the tungsten lighting and whatever it's all good um so pretty much this is what I do it's, it's, it's and and for me and weddings by the way at this point after this is done I'm done with my wedding my part of it here's where rich takes over until the end of the wedding he is not done until his hours are done, okay, so first dance is usually where the cut show loose because from here on out, it's it's eating there's toast there like no brainer kind of photos and it's cake cutting, and sometimes I'm there for that if they move it up, but otherwise and we I don't ever see that much more of the bouquet toss our garter toss anymore very rarely we did do one yesterday, I think, but see it's just back and forth back and forth back and forth it's the long lens because I want to get the portrait's of them I want to see it expressions, feelings and then full length because the bride's gonna want to see her dress um yeah, and then what we end with is this, which was a surprise for most, right? Uh, which was I thought was cool, this was cool, so when I saw that we were going to do this and I was trying to, I was telling you was trying to gauge the distance where the fireworks going, toby and they were going to be down here and all the cars were there and I go that's, not the shot I'm looking for and then the fireworks, I don't know where they're going to be exactly they might be too high to where I'd have to incorporate all of those cars as well I get the shot and then crop it in I said I really don't want to do a lot of cropping either I'd end up doing some anyway so what ended up happening is I'll move it along and see where we are on this thing we walked was that afterwards no we're going out there now so check it out I thought a car let's get a car out there amongst the other cars let's pop the bride and groom on there and then his brilliant guy john working for creative life said dude, we got a truck I said all right ten feet man dude all right, bring it out so we parked this ten foot truck we'll stick a ladder up against that all incorporate the latter is part of it will throw the bride and groom on top of it and then I'll use my fourteen millimeter so that I can go because I'm stuck I'm stuck where there's a fence right here and the the shot would be with the fence in it and I didn't have the right lens that would have to move back and you haven't seen this yet but in a minute there's two hundred people standing here right right in front there so I wouldn't get the shot I was looking for so I'm thinking I might do this all right? She needs to be up high both of them and then I'm going to use the wide fourteen millimeter I'm gonna shoot it so you see the truck and I'm probably gonna have to crop but the shot and I wish I had it here now you'll see it tomorrow is out ray gis they look like they're right in the middle of this huge fireworks display right dead center as they're looking up oh my gosh it's amazing so that was a little bit of ah you know, I had to think about this for saying so there is a little more thinking see? So they're here's where I have to do some planning but is brief and then boom it's whatever the moments are and what we end up with at the end I think we're gonna I don't know what so they they were shooting there see so that's my frenzy right seeing cck holding up the frenzy and that's for focus I want to be able to focus because it is dark without that frizzy but see all the people and I said I have to be closed it has to be fourteen is she grabbing his book? Yeah she was ok just checking so when I knew this was gonna happen I have toe work around that so once I knew they were going to be that many people there okay we have to have them higher up and then I have to shoot from behind riches from the front. When you see his images from the front, you'll be blown away. It's frighteningly beautiful that's what's cool that I can say that about another shooter, right? I'm so proud of him and what he what he does. And I'm always so happy to be able to say this guy shoots for me then we lose sound but what I do want to do before they have to take a moment to thank some of that incredible today that's, my friends, the lighting and the purpose is simply so I could focus. Now imagine from down below, right in the middle of that, I wouldn't have had that effect if they were standing on the ground. So it was something that I had teo visualize beforehand. Now I asked him to do that because sometimes couples get so in awe of the fireworks I forget, you know, that's. A romantic moment kissing that's. Pretty cool. Scary you wait, wait. Hey, I'm gonna have to show you guys the, um the info on that. Because it's probably quarter second two points right now. Fourteen millimeter to point a quarter second doable seventy, two hundred two point a quarter of a second, eh? So the wider the angle lens the easier is the hand hold that thing for lack of movement, right? So think about that if you're using a telephoto don't try and drag the shudder you'll get movement sometimes it's beautiful most of time it's not, but if you go super wide you can risk it so lily's here tio that's how we ended it it was an awesome day it was really an awesome day and it was mohr and it always is for me about who the people are versus where it's being photographed so one ever I'm asked you're so lucky to shoot in these events that the beverly hills hotels or wherever malibu it's it's not about the space it's about the people and it doesn't matter they can get married around a set of trash cans and I'll get beautiful images right? Er good question in the chat room from ah sabina uh patina how do you do? Uh work with people that put tradition versus of following their heart and doing a first look before the ceremony so the people that hire me that they're not about tradition that's what I'm saying so you know, I the people that come to me when I do my pitch it's based on like I said who I am and the work that I do and that's far removed from traditional imagery so if you want to attract those type of people, you should show that kind of work that is devoid of ah whole lot of tradition where maybe yeah, you've got a formal shot here or there, but you want to show more of your art, more of your heart, then those are the images you show them, show them why you want them to hire you. Um, you can convince him otherwise. So there are couples that come to me because they've heard that I photographed j lo's wedding or whoever you know that I shot for the spielbergs when they hear that they they sometimes go, I have to have this photographer my wedding, but when they come to me and they sit in front of me, I realize that they're all about tradition and that's okay, I'm just not the right person for that. So in the interviewing process, when I get a heads up that this might not be the match, I start to interview them and ask them questions. And if I hear that that there's, you know, one hundred fifty formal set ups to do, I'm probably not going to be the right person for you unless rich or a third shooter, I will dedicate a third shooter to having those things done, but the problem without sometimes become if this is a two hour shoot it's two hours and I don't have the opportunity to get the important people at the wedding the immediate family, the bridal couple, the bridal party in moments because they're in a chute that's hard to say it's not my cup of tea so I'm very careful as to how you know, uh, to say no, but I have said no joe blue lace photography would like to know, and I'm just going to jump in for a second. It seems like you enrich you guys had just this great relationship on dh. Speaking of assistance when looking for an assistant outside of your second shooter, or even choosing your second shooter, what are the basics that you feel they should know? What do you look for? And what advice would you have for that corporate person? That's wants to be a weekend warrior and is ready to jump into this. A lot of questions are good. What was it? You know that was a triple shot? That that's that's. Good. So you know, it's, I tend to look for second shooters that are opposite me. So what I need? And that's, why I hunt for second or third shooter's in colleges, I hunt for people that are comfortable with lighting that know their cameras, all of my second shooter's pretty much have been educated in photography so they've gone toe hallmark they've gone to brooks institute they've gone to a local college and taking photography two years of it what have you are in the university and study photography there so they know lighting there no posing and that's what I need them to do and if they're comfortable with that that's the person I need because I need to be free from having to do that so I could do my p j style shooting okay that's number one um I think personality is huge I've had a couple of shooters that are very uncomfortable there they're probably more pj style shooters because their flies on the wall and they have a hard time interacting with the clients in my style of shooting and that's not a cross where my dear friend dennis reggie is completely to fly on the wall really lovely man has no problem speaking the people but it's his style not to shoot the way I shoot his p j stiles a lot more what you would want to call like newspaper photo journalism you know they're just whatever moments unfold unfold I ain't touching it and that is a very honest way to photograph however for me this is a wedding and sometimes I've got to move some things around and no longer becomes pj and in order to do that I have to interact with my clients I need my shooters to be ableto do that as well and be comfortable with interacting with my client so personality is huge for me rich has a very big personality okay? And people love that about him which what happens for rich and me because of how we interact with them, they open up to us right? Because they get a feeling for who we are and that we love what we do they open up like book so it's not that we're brilliant and grabbing these moments it's that clients let us see these moments there's a difference because of who we are r right? So personality I would pick personality for sure as a corporate person jumping in to this game which is now becoming a part time gig. I think wedding photography is on a track of becoming part time us full timers are there's foreign few in between us now most of the shooting are part timers they have full time jobs nine to five monday through friday and if you're new at this, my suggestion as it always has been is learn by shooting for someone else first don't just jump into a wedding thinking that you're going to fix it later or you know I know how to do this with the rebel and everybody in my family's told me that I'm a great photographer and I should do this for living, so I'm going to shoot a wedding next weekend get a clue as to what weddings are about by actually following someone around lug their bags if you have to at first become a second or third shooter if they allow for that, even if they say to you, you can't use the images, get the experience I've had clients come in and hire great, amazing fashion shooters out of italy to shoot there weddings because they're stuff it's brilliant it's beautiful problem is mohr often than not I've had these clients come back and said I should have hired you instead why he missed all these moments I mean, the formal stuff was gorgeous, but he missed all the moments a fashion shooter isn't a wedding photographer a corporate person isn't a wedding photographer you really got to know the lay of the land before you jump in and go, I'm going to be a wedding photographer I know how to anticipate a lot of what I do is anticipate because I practice that's right? Just by being at weddings by shooting them, I've learned when the next things come up, so when people say to me, my gosh, how did you get that moment? I've tried to get that book, I have a sense for it because I've seen it more than ones and I have a feeling and I trust my gut, my intuition I gravitate towards it so it's experience it's so as a corporate guy part time find someone has been doing this for a while tag along carry their bags you know ingratiate yourself to them I mean figure out how you can work for this person so you can learn we just have a couple more questions before we wrap up our day here so uh melanie from austria has a great question and it brings me back to the wedding last night when I was watching you photograph you enrich photograph thin cutting the cake for the first time there's only so much real estate at a wedding photographers and videographers and family and everyone toe watch there's a smaller area you enrich were photographing they're too videographers from creative live of the cameramen and there was niko had a video camera for a taff covering I think there was like six or seven cameras right there in like a little tiny table so melanie of austria's question is how are you handling uncle bob? I want to take photos during the during all of these important moments and how do you handle that? Okay really easy I know when cake cutting is goingto happen melanie before anybody else does because the coordinator will give me heads up hey in ten minutes or after this song we're going to cake I'm the first one there so I positioned myself exactly where I want to be in no one's going to move me I don't care if it's uncle bob videographer they all gonna have to stand next to me behind me somewhere else, and I will use the positions so that if uncle bob wants to take a picture, the only picture he can take us from my vantage point because otherwise he's behind them he's not going to get a great shot, right? So he's always gonna want to look like me, the photographer at their faces, so they're going to be all around me? I'm fine with it. I really don't mind that there are the people shooting at all. And so what happened with rich yesterday? I don't know if you've noticed I realized that great shot would have been through the window where I was standing was locked in tiny little space, I was using a wide angle so I can get the cake I tend to like to shoot where the cakes, part of them cutting and feeding each other instead of close ups, right? So I like wide angle positions and then I said to rich tude, I'm seeing it, I'm not there right now, but shoot it from the other side out from the inside through the window and he got on the insects wow that's great, so he was really happy to be there all of sudden and I'm sure he was shooting with that the eighty five or fifty hey likes to shoot prime lenses but I'm I guarantee you got amazing stuff from that point so I don't mind other people shooting I just got out of turf for myself first assess often as I can and you have been similarly during the formal shots as well here's what I do with formal sometimes and and typically you know, sometimes we do have cultural weddings whether it's chinese or or indian weddings where everybody has a cameron wants to shoot they're entitled to shoot their part of the wedding right? So I set it up right now everybody stand like this. All right? All you guys here shoot it and I let I sit back and then go to town they shoot all from you done ok, step back just turn and I rearrange it and I do my own thing tio so at that point I let everybody stand out so I let them take the first shots, do whatever you want go for it have have a field day and then I rearrange it and do mine thank you. Awesome joe um that's a great question christine l would like to know and I think this is not just for photography but because we're kind of feeling you today and we felt yesterday how do you keep your passion for shooting weddings with all the all the winnings that you've shot over the years because each wedding to me is new and different, right? So I also do things for myself. A few years ago, I shot a book called autism heroes. I have two children are on the spectrum, very near and dear and close to my heart is autism. And so what I try to do is find work for myself. That's not related, teo a moneymaking thing. So I will shoot for causes. I will play and go out in the country. I will go on a hike and bring a camera something other than shooting on the just on the weekend shooting weddings. And even though that is my passion and always will be, uh there are other things that I can shoot that makes me just this passionate. So if you do something from the heart to the heart and I had zero money involved in it, what ends up happening is that you rejuvenate yourself and your battery gets recharged because you're doing something for you, you know, and you were touching someone else's life is well and there's no exchange of money so it's an awesome feeling, it's absolutely fighting. So if there's something that you love to do outside of weddings, that's just a thing that you have to shoot, whether it's, you know, tabletop stuff or whatever it might beep. Kids, anything that you want to do. Or you want to give yourself to an organization that helps others, and you photograph something for them. It is an amazing, powerful experience. It totally just every time I do it. I'm good for another three, four years.

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