Rich's Gear Bag


Wedding Photojournalism


Lesson Info

Rich's Gear Bag

So one thing that joe didn't show is the low pro bags that we have actually really, really cool because they have this feature which is another sponsor yeah, I know it's kind of like stand that you can just put out and then you can open it up right away I love that about it because that's I mean it's kitschy but I also really is quite helpful I have ah you know lens pack here also buy low pro that I just swing over the whole of few extra lenses and then yeah mike here's kind of the same there are some differences as faras the lenses we use I have an icon of course and joe's cannon d seven hundred right here and then I just upgraded to a d eight hundred as well. So again two cameras thea hundreds crazy I love it it's incredibly fast of focus and the files are humongous which I don't necessarily want but you know I can make it I can compress the files a little bit so it's pretty cool I also have a seventeen thirty five millimeter wide angle lens so that one is a good stand by for all the...

party party stuff lots of dancing I try and go kind of wide angle and get in there with them my long lens is he has a seventy, two hundred ivan eighty two, two hundred I've had this forever this is ah two point eight all the way through. But it's not the v r or the I s like doesn't have the image stabilization in it. I don't necessarily find that I need that because it's like I'm going to use this lens mostly during a decent amount of light. Anyway, he's young right he's got a little more muscle tone from older I shake a little no, I got it that's it right? So that's the eighty two hundred it's awesome it's I think it's like half the price of the seventy two, two hundred you know so it's all so it's not as big so it's not as heavy that's kind of why I like that let's see? So now we get into some of the difference is I have the eighty five one point four from nikon. I love this lens. I use it for almost everything if I take it off my camera it's to put the eighty two, two hundred on. So this is pretty much always with me for all sorts of candids low light stuff again, like you were saying, I rarely ever shoot it at one point for almost always on the two I like to shoot it to maybe to point to it does make a big difference from two point eight and one point for I don't know it's just it's a little risky, or I'll use it sometimes if it's like, really like right on the edge of too high an esso and and to close the lens so mostly to point out that I love theeighty five one point four thiss ones, the standard twenty eight to seventy five twenty two, seventy two point eight lens from nikon, um it's, awesome, super sharp and it's a good stand by for I mean, you know it's, a standard lens. I don't usually use it unless sometimes at the party. If I want to do a little bit less wide angle, I'll try and use that. I usually just switch between that and the wide angle just for fine, just so there's a variety of lens on don't use the same thing all the time. Let's. See three old flashes, these air kind of yeah, sph hundreds by night. Can I have two of them, like you say, in case one of them fails on dh, the same kind of battery pack set up? By night guns instead of canada was this I think yours holds eight mine only holds six so there you go you've got no you've got me all right uh I have a video light but I don't ever use it this is a little lady thing but I don't yeah I'll just borrow your present even know you I have this thing I've never seen I don't use it because you know it's uh it's a little harsh and it's a little green so you know that's what seventy five dollars gets you didn't really whatever all yours someday someday I'll use it alright andi this is the tilt shift lens on gets complete yes that's right this is a lens that joe used tohave wasn't using it I was like hey can I borrow the lens? I've never seen it back yeah exactly I was like can I borrow this weird crazy lens and it's really cool it's also risky as all get out manual focus so you have to you know kind of bracket your focus while you're shooting when I shoot the till shift lens I only tilt it I dont ever shift it if that makes any sense tilting it gives them an effective the focus just being in a very specific angle and it goes completely crazy out of focus on the outsides it's kind of I mean you know the lens baby it's essentially that on lee the advanced expensive nice like very sturdy version yeah exactly it's a macro as well it can go really, really close up so it's great for ring shots some details that kind of thing portraiture you can do with it again you have to be really careful maybe bring you to step up a little bit and get their faces like the bridegroom right next to each other and then the further away you are the less likely you'll have one person's eye and focus on the other person's out but it doesn't add a really cool effect if you want that kind of thing it's a little kitschy as well so use it sparingly but yep it's a cool ends um I always have this little pouch this came with the s p eight hundred I just keep it here on my belt so I can actually when I was saying earlier I'll show you this guy um I do the off camera flash with this cable uh nikon c twenty nine and what I like about this is it's got its own infrared focusing right here on the camera. So this aids me focusing and actually what's really cool is especially with the wide angle if I throw this with the flash and bear with me all right, so here we go so right, well, no if everything's gonna work here but well, what they're so that'll help me aid and I can do this with a flash and I can kind of do this offhand I don't necessarily because it's wider angle I don't necessarily have to look down if I know what I'm doing and what's really cool is that this will actually show where the lens is pointed because it will illuminate the subject so I'll see it bounce off of them it'll be like I know I'm aiming pretty much writing them we'll zoom in a little bit, you know, do that and then like I said, I can cross this way if I have to I know I look ridiculous and then one a trick that donald my friend donald taught me is you can wrap it it took me a while to figure this out you wrap around and then it's kind of like a little extra support so that if you do get a little you know, slippery or whatever you can but again again you can do this, you could do this. I always shoot my flashes manual just because then I know how to switch it if I have to I'm like, oh it's a little under just up a couple stops and we're good to go and I'm always e teo that's right he's tl I find that manual works better for me just because you know it's bride's wearing white grooms wearing black. So for tt l to bounce off black sometimes it's over exposed and for it to bounce against white sometimes it's under. So I go manual, but you know, to each their own we got this. Yeah, yeah. All right. Okay. I think that's pretty much all the gear that's worthy of mention cards, that kind of stuff. But that's not what you have to put it always. So do you see the lines? But there's never one. Exactly. Actually, this question came in yesterday. I've been waiting all day. You know, another whole day to ask this for both of you. So when you guys both get your cameras out of your bags and you're about ready to go and shoot, do you sink your camera times on your various camera so that your images sync up in post for rich specifically on? And that is from our park still a long time you were here created life. Yeah, thanks, bill. I really appreciate that question. It's a great question. Because initially when we didn't do that rich with theo in the post and we he throwing all the images together that get them cold and would find I would see an image in my mind saying, where is that one? And he goes, I don't know and scroll through and he'd see it all the way at the other end because we weren't sink in time, so we learn really quickly to sink our camera, and sometimes we work with three photographers and each of us have two cameras, so that can take up to, like forty five minutes to figure out how to sink each one and it's very fast. It makes your brain go upside down trying to go. Okay, so this image was shot with this camera at this time, so let's go, it drives me crazy, so we actually got to do it today we did, but what we usually do is actually the best the best way to do this and there's another trick that we learned from my buddy don is to take out your iphone and then pull up world time dot com and put it full screen, and all I have to do is you just take a picture of that person takes picture of it, it could be different time because, you know, it doesn't matter, I'll just be able to see what time it wass. Exactly and that image when that image was shot and then I can sink that camera you can sink the next camera so you do each camera taking a picture of the timestamp and who is your friend that don wait he's one of our associate suitors as well and uh yeah case he's the guy who introduced me to you who rich do you have anything in your bag other than like traditional photographic equipment? Something down there in one of those pockets short you'll pull out yeah. Here, check this I'd never leave home without check this out. I have a yamaka in case I'm shooting a bar mitzvah because if there's sometimes to get orthodox apartment that's what I'm talking about right there like dude have all said lost this's even someone's name is probably on there someone name isn't okay paige paid killers uh, painkillers just in case you get picture batteries that's such a funny question. No, sorry. The young theon mcconnell did it that way as we've seen the painkillers before way wipes but yeah, yeah you want sunscreen to yeah, because screening my doesn't least calif yeah, we shoot stuff out on the beach and middle of the day it's eighty degrees out there and so son korean we shoot in mexico all the time it's bloody hot, so yeah, that was really hot

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