Wedding Photojournalism

Lesson 22 of 34

The First Edit Part I

 

Wedding Photojournalism

Lesson 22 of 34

The First Edit Part I

 

Lesson Info

The First Edit Part I

From this point we'll talk a little bit about what we do on the screen under no screens up here cheers yeah you you take the master seed I'm gonna let not to get technical here you know it's about to yeah so what? Well yeah typically we won't do a whole lot of this because it's what we end up doing usually is the images I'll leave the cards on richard station in the studio and he'll download him after he downloads all the raws my wife maryland comes in and she does the edit and she'll do a ones through edit really quickly and whatever's left over rich then will take in and throw into a light room and convert raw jay yeah and we should say we like that she does the edit because normally it's we're so connected to the images right and so it's hard for us tto go through our own stuff and be really brutal about it whereas your wife maryland she could be brutal about the edit and is because we'll be later we're like where's that shot and and jill's going no no bring it back in she's you kno...

w rats we pulled it out I figured we'd start with just the beginning of the day so these images are unedited uncalled down so that you can see everything that we shoot and you can see that even joe is human we all have you know un enjoyable shots way I'll have the veau papa images listen here's the deal okay? I want you to see everything simply because at least you're going to get a scan of everything because they're going to be mistakes in there there's going to be ugly photos in there that's why the editors there so what? I don't want you to get the idea or hear of one hundred fifty great images and that's what they shot no, we've also gotten stuff that really were horrible oh yeah sorry, but but that's the point of it right? It's it's it's where human I'm going to make mistakes we're going to find not flattering photos there's going to be a fork in someone's mouth the wrong timing is there they just get edited out so you're going to get a little bit of what rich gets to see or maryland gets to see so so that's out yeah, this one will be out so so the guy came in with, you know, a little a little guy going on here there's a groomsman shot so I was like, I got to start out with this I don't know, you know we may or may not now I think we can clean it up clean it up because obviously it's under it's obviously terrible lighting, but you know what? We'll give it a star anyway because then maybe and then we get tough here hanging out with them unfortunately can't see his hands I mean I don't want to see if you don't want teo so these are just the beginning shots the warm up here I love I was taking these and I was like what's in lovely detail and then I went over and they were not really flowers don't go well then never mind I don't know where he walked over and he thought he got in amazing detail and he touched it he says oh it's not a real one so that was my quick grab it and I think this is yours, so I'm gonna I'm gonna pick you can sell there's a difference here in sharpness just like you're saying joe, this one is blurred but then you get ones here that actually totally sharp so we're going to give that one a star and she was that one here's an example of hey let's pull splash out and oh no, no that's not even that's, not even in the range eighty five millimeter rocking it um that's sharp but his expressions just not where it needs to be right? And then these air actually out his hand right over here is in but it's not worth it, so we're not going to go for it now this one in here that's when we used just looking, I mean, again, you know, I don't know exactly how interesting this whole thing's going to be, but I'll explain how we pick the images like this one here they're having a little moment with the kid that's people were smiling and playing the angles more or less, the four thirds kind of idea they're directing and the lines are leading in a little guy down there, so we'll leave that in that may end up being a black and white I usually market six for black and white, which is a red label so that later I can pull it in and we'll do a black right conversion societies yeah, let's see what else we got here? Have a drink from our dixie cup. Come on, you gotta have one it's, you know, you're the groom and then this guy here he's not convinced yet, but there's a smile. So actually, this is something that maryland would be doing right now. That's, right? I'm not usually the one doing it, so I might be she's probably going back home, just like don't pick those images were thinking now she she's frighteningly fast at he's been doing it for a while and then here we'll see how the the bright like all of a sudden we're in with the bride later, we may I'm gonna pick later what I'll do when we're actually getting into the jai peg stuff or when we're going teo process to j peg, I will section these a little bit mohr chronologically pleasing because we don't want to go from this to this and then back to this really jolting lee for the bridegroom when they're looking at the pictures for the first time so later all kind of move them around either by changing the time stamp or by putting them all on the same folder in leg room and then you can just kind of drag them from place to place, but they do have to be in the same folder I know that's really fun it's really a fun fact you're learning right now so there's a test hanging out with this guy again? This may be better in black and white, so what I'll do is I'll mark that one ah, we got a little kid hanging out down here a bit of a display moment now we're going to get that okay, now this is super cute, so we're gonna definitely keep that and maybe that one too, and this is again I'm kind of showing you the first at it, so I'm going to be a little bit more like I'm going to include more images now and then we go through it a second time um I know there's one here where we get that's it right there we get the good smiles and I love that you can just barely see the little kid here with the water. Ah, yeah, a little kid way dio are getting some nice moments here. You wait here and I was nice. I think so too. Goodson and I got her attention, let's see, these are my little quick portrait in the seventy two, two hundred unbeknownst to people so cameron and where I get actually who they are, the minute they turned towards me, it changes, you know? Yes, because then here's a goodly put on a little bit of a smile and that's okay, too it is nothing wrong with that, is that I yeah, yeah, but getting the moment is yeah, exactly a little detail of what's going on here. We've got our first aid kit just in case. All right, let's see, um, you know, I don't think so. And then this's the first bring shot? Yeah, I did it with this is with the tilt shift lens. I didn't tilt it very much. I was a little nervous again about using it. Andi, you know, obviously, if you're going to check for sharpness in light room, you have to kind of wait it out um because it loads it takes it takes a while to load the full you can go over to develop sometimes that makes it go a little bit quicker but you know I'm using joe's laptop which isn't as fast as the that probably machine monsieur the mag pros that we have back at the studio but see it's going to take a little while but then we can check it there we go it's a little you know we got a little bit of grain going on and you know obviously I'll get to this later but you can do a little bit in sharpness you can kind of balance sharpness with noise reduction and find that spot where it does look good it might not be this image so we'll market for now and then if there's another one in here somewhere that's a little bit sharper blaine blaine yeah I think that probably was it we'll have to work with that one a little bit in light room for the sharpness factor and then I think this one looks pretty good too so we'll be able to use that okay so this is a gift for the groom, right? Yep it was yep there's a little compass in there it was a really sweet moment when but when he got that I picked this one here in eighty five millimeter again these air going to have to be white balanced but it will be totally fine even it's a little hot, but it's well, within the range of the raw files that we're using a moment with him and the kid may be the one where he's not making the post face will do this one here. That's kind of cute. Teo may believe it in for now. Is that when the little flower girl gave the gift? No, not yet, but we're away that she's not even in the outfit. Yeah, I wasn't there, so I didn't know. So we have an image here to to pick from. I'm thinking this one here because everyone's looking pretty great. This one here, we got a little bit of I mean it's, just about the flattering this of the shot, right? I think it's better that we were there. This similar? We might as well go with this one, because then we don't have to worry about anyone going. Oh, man, you know and remember change or some think what? What are what we endeavor to do? So try and not do too much post production work, right? So if it's a cz best this possible capture and then just enhance that's. Great. But if you start thinking about fixing it, it's a lot of time spent on computer. So here's one I like to follow the rule of thirds like a lot actually you could break the rule all the time if you want as long as you know what you're doing but I just this image here right here this one's more of the third's rule and I actually have my crop tool set up to show you can do this by hitting ow you can change the overlay zone if you can see this on what I'm doing yeah this is the two thirds it's two thirds right two thirds rule a rule of thirds cropping tool functions it was actually pretty cool to use that to kind of just help you if you want and I think more or less as long as it's laying even if even if we did it something like this you know this might not be a great example it's still kind of falls into the rule of thirds because it's right here right here on di think this line here kind of represents that if it is going to be in the middle trying try and put it in line I don't know it's just one of those things that honestly what I find and then you probably well is more ukrop your images in photos over light room if you're beginning photographer just take them in and crop them even if you think the crop is good to begin with just play with it because the more you crop in photoshopped light room, whatever program you use, the more you're used to cropping the image to that perfect little spot the more you'll start doing that when you're shooting the moral just start happening as you shoot so framing up in post and then later you'll start noticing that is happening organically as you're shooting we have a little football moment here, not the best angle that I could have ever had but there it is now the biggest room for a football shot yeah that's isaac this one a lot I love this kid was hilarious. You'll see a lot of that kid for better for worse, right? Okay, a little hot but it's okay. Okay. And then I was given over to joe the rings as well because I wanted him to see what he could do with them that's a lot sharper than mine. Uh it's kanan yeah, that must be it. Okay, so here's here's a getting ready of the groom he was already ready when we arrived. He was pretty much all set, so I wanted to get whatever I could of him kind of primping himself just a little here and there just to show that and then weaken again we can rearrange these so that these air a little bit earlier it's all about how the story tells out so these may end up going earlier in the proofs than they are right here just to show him first as opposed to his groomsmen there's a nice one right there so again, these haven't been cleaned up yet you see we got little specks and little dusty's and whatnot we're going to clean those up and obviously we'll probably do a bit of a vignette just a slight one on we'll check for sharpness later, okay, so this was this is me encouraging silly behaviour they were doing the dixie cups I made fun of him for having dixie cups for their boozing and they were like we gotta put the pinkies up so that was a fun little shot I think funny he's on his iphone but I like the little lens flare going on so we'll keep it maryland's probably like no dude that's not even kind of worth it, you know? Not sure what's going on okay, so she's had this is the shot where I explained yesterday as she's having lipstick put on she the girl, the lovely lady in the background was intently looking at her best friend on dh there was a moment where I racked in on I think, yeah, I didn't I don't know what you're talking about, okay, we'll come to that it was right in here somewhere and also in the focus became about her yeah and I like yeah I think that's sweet so if you blade them next to each other were initially there in focus ran all of a sudden so we go from something like this or maybe something like yeah that's one of those you have exactly two this year excuse me quick question from the internet by the way they love this very much I don't think there's ever been a photographer who has gone in and like here's everything from start to finish you know here it is way see that's so important quick question from an rs is asking if you can explain your rating system as you're going through is that one for your picks are two two five and the other colors tell us what you're using okay that's great that's a great question s o right now I'm just doing one star andi everything else is still zero the stuff we're not going to include later I will use it let's see so wait zero is at it out that's right right so ones are selects for now that's the first round first roundabout through later on when he pulls up he'll go on go to the filter and pick one star's only and those air the initial selections yeah I'll start zeroing out after we do the whole wedding through I'll go through it all again what's cool is that the first edit for any of you that are like man there's so many images in front of me uh the first add it is a little gruelling but the second one takes like no hardly any time at all you're looking at good stuff already and you're just like oh this is I don't need this I need this and it goes so much faster so just bear with it the first one's kind of a pain in the butt but in the second one just goes by really goodness that's why oh maryland and big right she does a lot of work on that special when you were taking it will you give your wife a heads up about this coming in she reads my mind yeah and again you know I align myself with people that I trust to do exactly what I think should be done so maryland pics we'll pick this out in a two second so she'll pick the first one workshop because she knows I like to tell stories that way she tells the story the same way so she'll pick his or mine the same way so what rich goes home he'll do it sometimes an added first right do you do that? I do my stuff for yeah before I turn in the images that I shot a second shooter I'll go home and call them down to what I think they're going to want to see and then maryland will yeah loose their degree lose yeah, we'll talk. I usually turn in about one hundred images per hour is what they're expecting from may, so I turned one hundred images per hour, more or less. It doesn't have to be exact course, um, but then when maryland goes through our stuff together after I throw it all in the light room and do it chronologically to the time stamp, so maryland will see both riches selects loose, end it with mine that haven't been edited at all, and then she'll edit it all together and they're thrown in together. I believe in sequence at that point that's, right? So she just goes through them. She can definitely see the stamp at the top. Is it then? Still j b one, actually, because you can you can hit command. I just like get info. And you can see all the stuff up here as faras who shot it. Well, in this case, we've already changed the file names, but usually looks like j b want maybe warner jamie too. Depending on which camera came from. You can tell this is a cannon right here. Yeah, there's. All the settings and everything. And I pull that up really quick and sometimes I wanted out of the way. So sometimes really quickly there there might be an issue that maryland picks up on say you know what? This wedding there was a little more soft focus stuff than I'm used to seeing from you and I'll go really show me and then she'll quickly pull out the images by virtue of being able to see whose files they are not just which is you know he can she can separate him out then and that's how I discovered that initial twenty four seven he had a problem the type one that at one wedding I had an issue with a lot of soft focus from that particular lens and loan behold when I sent it into the factory and I do this every year by the way which is a good thing to do at the end of the year in december I take all my gear to cannon cps and for nikon nps the professional services and I have him service every camera, every lens and without fail they've made adjustments to all my gear I mean I come back and I want to read what was done to it if anything was out of alignment and I find most of the time maybe not all of the time that the lenses air out of uh sink the cameras are out of sync in one way or another something needs to be adjusted so and I need tack tack sharp stuff you know and if you ever buy and I do this now and I don't care which company does this when I get stuff that's new just to be safe? I sent it back to cps before I use it because believe it or not, I've had times where that blends or that camera body gets tweaked a little from the factory, just a hair just a little more and I rely on it so it's kind of a safety thing too, you know, and that's good thing that belong to cps or nps I use one star for the ones that we select two star is stuff that we're going to give to a coordinator because we always take care of our coordinators afterwards, so we'll give it a two star if it's something like a detail shot, I don't remember what three is for I don't think we really use it for all mark, if it needs some sort of retouching and photo shop if there's for some reason um, like way don't really do very much photoshopping, but let me see if there's something here that fits the example of what I'm talking about. For example, if there was something in this shot like if there was a little bag here like a purse or something and I was like, maybe I can get rid of that because it the distraction I would mark this shot for for later so whenever I go in and filter I could filter down to four shots and I can see which ones need to come into photo shop for a little extra here they're on dh then five we mark for your portfolio if there's anything that's just out of this world and then we also do the color is nine for red, which we mark just it's kind of arbitrary but red is for our black and whites that will convert and we also used nine is blue for the images that we're going to give you nine with red nine sixes I'm sorry six right? And then nine is blue for the images that we're going to like kind of boost a little bit for that your favorites like wow, we call them wow images I don't know where that came from, but we like it, but the images that we picked like fifteen, sixteen, twenty somewhere in there of the images throughout the whole day that we think are just the most fantastic ones that joe likes the best that we should put them separately at the very end we leave, we leave them in the proofs in order and then we put them at the very end as well after they've gotten a little extra boost in photo shop a little extra tweaking just to make sure everything's perfect for them. So that's, what nine does I think that's pretty much all the rating stuff that we use and the reason for that is not just arbitrary. The wow images are to educate the client. This is what the image will look like in your book. So all the images you select, one hundred fifty or what have you we'll get this kind of treatment so it's an educational tool, and they also get completely bonkers when they go on to pick taj and they get to the end of that folder where the wiles are, they did come back and they rave about the images because they're spectacular. Like those guys over here? Yes, kind of fun, because it's so remember when I talked yesterday about why I put that little dress there? It's juxtaposition next to that little painting or that little drawing that I thought was pretty cool, you know? You haven't? No. Yeah. That's, cool room right by this window on dh see what he does here. A little makeup moment. So this is this is pretty much how it goes, just picking out some that we think you're gonna end up in the you know, in the possibilities for our second run on the images.

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

Reviews

Carlos Zaldivar
 

Joe Buissink, Thank you for share your out of this world wedding photography its be on great,I just love it. I look up to you every day I do a wedding. I have yet to meet you but some day I will. I took conclave in April 2013 and wished you would have been there. My favorite wedding photographer is Denis Reggie which has become a friend I just love his work also. Between you and him both of you I look up to and hope some day I can be as great of a photographer just like the both of you. I just love to be a wedding photographer. Thank you for share such great information and course. Carlos Zaldivar Carlos Zaldivar photographers www.carlos-zaldivar.com

Jessica Lindsay-Sonkin
 

This is one of the more slower-paced courses I have taken on Creative Live. I ended up watching the videos over a span of about 4 months, but enjoyed every moment of it. Watching Joe and Rich work is a beautiful dance. I love Joe's philosophy and he instills a calm spark in all that he does. The way he looks at angles, approaches situation and works with his clients is mesmerizing. I highly recommend this course if you are looking to be inspired by wonderful philosophy and to gain valuable insight through watching a master in action.

user 3c6b62
 

I gained a lot of valuable information about photography. It gave me new insight on trying different things and it is ok to made mistake. The great photographers have bad photos too. I photography a wedding for a friends family member. I was looking for the moments of the wedding. One was the bride & groom looking at each other with deep love as the wedding party is scrambling around. One great shot of the couple from the hip. The whole moment took less than 3 to 4 seconds. P-mode and meter lock technique help out with the different lighting. I still watch the videos for a refresher. Thank you for this course.