The First Edit Part II


Wedding Photojournalism


Lesson Info

The First Edit Part II

In terms of software, lets see our direct ville is wondering when you are importing the images. What preview mode are you important? Are you doing one to one? Actually, no, I don't, you know, I've tried and I've read that one one is for doing the edit I do build standard size previews, I'll pull them in, um and I'll, you know, usually if I don't have it, import them with standard size previews, I will select all I'll goto library, I don't have it build render standard size previews, and it does take a while but it's worth it because if I don't do that, maryland will be like, why is it going so slowly? Loading the sharp version of the image when it comes to one one previews, I actually haven't noticed a really big difference in the amount of time it takes in develop mode for it to go from this to that, I mean right now, it's, going pretty quickly because I've already kind of gone through everything but for it to go from saying, loading tio this pixelated version into the sharp version, ...

I haven't really noticed a really big difference after building one the one previews maybe somebody else has, but it's still just takes justus long I'm you know, I don't build the one one previous and the software that we used this strictly light room, right? Yeah, we use light room and then we use photo shop. You know, I have heard great things about photo mechanic as well. It is a fast program. I have used it. And it's yeah, it's worth taking a look at. I like using light room because he keeps everything in the same place because, you know, our catalog. This is not because this is joe's laptop, right? But we throw all of our wedding's into one catalog, and the reason we do that is because when I build a catalogue at home and I bring in my images, if I've tweaked any of them, I could just throw my catalogue into this one imported, and then you have my adjustments, all right there. So so, yeah, I just like keeping it all in light room. It's, much simpler for our studio anyway. Okay, great. Thank you so much. And we could probably keep going. We're wondering if maybe you could keep the maeda data open so we could see all the different settings. You over here? Sure. I don't mind a lot of that's up here as well, thank you. I'm trying to see if there's anything over here that's not I mean, dimensions would be there but captured time, I suppose but yeah, you can see which camera it was day eight hundred verses you know, whatever but you have no problem let's do that. So keep going just pick out a couple of these little moments here let's see, we got I'm looking at, you know, and then we got him right here so again underexposed just a little bit it'll work out later and it's also kind of green, but as far as sharpness is concerned, this is going to be nice and sharp. I can tell just because I've seen it already, but forget it. We're not gonna wait for that another nice one of him that's cute. Is this from were you shooting this? Yeah. Yeah, joe likes to shoot sometimes just right off the hip doesn't even have to look through it. She was not really cool moments address this will be brought down a little bit using the recovery uh, that's a nice angle. Yeah, I think he I think we've gotta use these he's a really sweet, really nice light on that too. Hello? Hello? Sha leah. Okay, um yeah, not really. Mmm mmm mmm mmm so you can see a little bit of what we're working with here we have cables going up the stairs little signs and stuff so no, we're not going to include those but, you know, you get selective about how to get clutter out of the shot that's kind of a big part of the whole thing. Shit, I love I said this one there's another one here coming up. Pretty sure you got another one. You know, we used a couple of these. Wait a second. Well, there is another shot from this segment that is this is the blurred version. I know I have the other and somehow must have gotten moved. I didn't put it back in, but this one is there's. No, one of that is really cool. Okay, why not get him with the host again? A little bright, but in the range of with rock and dio, so we'll be all right when outside you can see the rain a little bit here. Yeah, I'm probably gonna keep those there were knocking on the window, so we got a little thing going on here and actually, this kind of lends itself to a black and white details I've got to get those well look sharp hugging the makeup artist. I think she was going up to do the groom's makeup so that'll be a fun little setup I love sure leah's face she's really she was so hilarious he was so funny this one also black and white I think it would be really cool like because here's an example of where it really is going to be difficult this is green, this is so orange we're not really going to want to spend too much time trying to balance out the light in a way that makes sense to the human eye so I can really show you just really quickly have a pre set we're going to do is in the next segment a bit more, but I have a black and white preset and you'll see it messes with my shadows they bring him way up highlights come way down blacks come way down contrast a little bit don't mess with this here I typically add a little bit of sharpness to the blacks black and white images um a little bit of noise reduction, but actually that turned out pretty good just right off the bat but you'll see more of that stuff in the next segment that's a black and white conversion for you groom's dressing room and this might be cropped in a little later just bring it down to this kind of area here I'm never going to be able to sit in the studio and do this without a camera crew this is this is so much fun I'm usually just down there me and my coffee, huh? And npr news keeping me going so the groom, who was the makeup artist, was saying in this moment she goes, I hear you have a lot of shoes apparently test has a lot of shoot and I was like, well, then I got to get his shoes and they are pretty fabulous, so interestingly enough, what we tend to do at every wedding is we also listen to the stories and the banter back and forth between their friends in the bride and groom, and then we take note because some of these things do pop up like this, like, if this is important, you know, I hear like, that little piece that when he's getting ready is really important to him that z a crow or whatever little thing and he's all about crows, and I'm mindful to remember to incorporate that as he's adjusting his thing in the mirror that the crows on the side of him, you know, and they included, so you've got to keep you ears open as well, you know, when you're shooting going, tell your wife so that she doesn't accidentally call something out, that is, yeah, there there's times when when when I hear there's something special that I incorporated, I led maryland no, okay, there's going to be something really important that we got to keep in yeah, I let her know yeah and he'll always come down to take a look at the edit after we've gone through it a couple times and if he goes way whenever I want it's not like we delete anything like you know we keep the ross oh, by the way, in my contract it states that after two years if you don't pick up the files they're gone they're not yeah, they're not we keep way have drove owes that we just store we stack them we just bought a new drove bo where we keep that separately in a different area right? So in the studios one drove oh, and then we mirror on another drove or the same image I put that upstairs in a safe in our apartment it's an awesome system I don't know if you guys know drove oh system at all but that's essentially four hard drives that a hard drives you can put in you only get two of the four because the other two are mirroring the other two so one dr fails, you always have a backup on another drive it's really cool all in one big box on dh then like you said, we used to burn raw files to a disc like we're really took forever, especially once I got eight hundred you got mark three the files get thirty forty megabytes piece they're insane actually that's that's called that's like a compressed version of the files because I know my camera and aggressively seventy five megabytes piece anyway so I was like, we gotta get another drove oh, so we did was all I do is I set up the other drove on a second computer, I load all the cards on the first computer and then I while I'm starting the edit and starting the preview building, I'll bring the cards over to the other computer hook up the other drove oh have them load while I'm working over here and then like we said, we're going to take the second rubble upstairs to a second location just in case there's like a flood yeah flood his raking of readers level is easier to break in and upstairs where we are so right my studio's the bottom apartment then there's a middle apartment where other people live and then we're upstairs above that were on the the third levels triplex and so it's easier for me to go to work for us is used to have a studio in beverly hills because it used to be all about location so clients and beverly hills say if this guy's in beverly hills he's got to be good it's not always true right but it's location, location, location now the locations, the internet so it really matters not where I am any more than they could care less than I'm in beverly hills or where I am now but so it's easier for me to have the studio space in my home space because we literally walk downstairs who are not coffee and we're at work we don't have to go anywhere our clients come downstairs you know it's really nice it's a nice little space um I should probably just mention this now usually I'm pretty sure when maryland does the edit it's not mixed in with your stuff my stuff your stuff because this would drive her crazy and it's starting to drive me a little nuts we have separate folders where we put originals and then we put joe right now I have this set up for presentation for it right? We have originals and we'll have joe and rich and so she could just go from one another and just look att you know right so it's true that's that's that and then the second edit we do we do together and we make sure that they're all in order in a way that is not the first not the first did it like I'm doing right here but hey you know just a disclaimer not exactly how we do it but it's very very close and you know you're seeing the rating system anyway so you have lost my spot let's get back over here I love this mouse a lot of people can't stand it I don't know why I love this thing it's just so easy to use little scroll wheel over as a right it's bluetooth and you'll see it see it later being used in the brush tool that I have is just so easy tio change the size of the brush really quickly aren't so here we are I love by the way the stuff you were getting under the dress and I don't know if you noticed I take liberty with that fourteen millimeter I don't look it's literally off my shoe tops it's underneath I get a rough idea because I've been doing it for a while where I want to shoot with the hands with the spray cans I knew that I was going to get that it's gonna be a lovely shot that is pretty cool yeah so that's what? That was a cool moment because you we're watching you yeah, that was live so we watch you had your hand way down you know, I was just like like going like this and I was like she wasn't in the dress, which I do you know I've been known to shoot them in the dress like that they're getting into the dress and get very interesting photos way mark knows that's what I'm sorry that's what five five is not for your portfolio five star for private right? So because when we go to proves will give the proofs to pick taj, they'll upload them, but we don't want them to upload any private images. Yeah, because there's a lot of times that I do boudoir oh, yes, stuff. I mean, I am just about everyone. Anything? Yeah. So I don't put those online. I keep that separate and it's a private disk that they get for just themselves. And you won't see them here today, right? So sorry. Uh, that's just the way it is. That's just the way. Yeah, so those air fives and then they get pulled exactly. Then we pull them out, we put them on a separate disk. That client is the only person who gets that desk market privates, that kind of thing. So I was having fun with this guy. He was using the dixie cup to collect the rainwater, so I had to get a couple shots of that and that's just silly to me. Ok, a little hot lips a little hot, but these air also still within the range. Aiken, make these work out. If I want to keep it in color, I can I could also do black and white, maybe his expression isn't worth it, so never mind, but, you know, actually that one's not too bad yep. You see me just constantly using that eighty five millimeter. Okay, so here we go. A lot of stuff going on with a dress. Oh, that's, right? Yeah. So cool. Yeah. That's. So cool. I did that a lot, so we leave that in for sure. Um, hello. I don't know. Maybe I have to see how I don't either. I don't like it either, but that's one of those with the government that they're kind of cool, but I was kind of cool. See what I don't know if you notice what's interesting is that we are very similar in what we like that's because we're learning right about what the images for each of us is important, including so if I'm not doing the end and maryland knows me and knows exactly what I like and I want her input because she's a woman and she's editing for a woman, so but we're not far off and there's times where I see three images because, you know marriage so I don't know which which one of these you would have liked. So then I pick it right, right? I mean, it's okay to, you know, make mistakes now, because we're going toe it's better that you leave him in in the first edit going to take him out and later be like what happened or not even noticed that you took it out so you can be kind of liberal about is that liberal conservative liberal you're gonna be liberal about how you want and that one there was off my shoot officer here yeah it's a little blurry but it is cute I mean it's a little soft well, it's a little once this low is if it ever does this is you can tell just a slight blur but this may be an image you can see right here there it is loaded up it's a little soft but it's so cute that we may be ableto you know, mess with it a little bit in cuba, you know, depending on whether or not we think the moments worth it so I'll leave it in for right now I love marilyn. Nikolai had later come on over she's like, you know, I just got my dress on right? Sorry, I'm not sure we're gonna keep that one, but hey, and it was cute is cute. Yeah ok. Ok, sure. There we go it's a cute when they're like that oh that's very sweet yes, that way we get into some more silly antics with them ok had to get a shot of some of the crew I had teo I was just like, this is too fun, they're part of it. So by the way, it's, when I see video, sometimes I include them in my shots because everything is fair game in a wedding s o I trying not teo, eliminate too much? And even though it's so here's what I do sometimes I get this feeling, you know, that isa matter fact, the last wedding I was at, they had six videographers, countem six, and I'm there and I'm basically the only one shooting and they're six videographers, and at one point I got a shot with all six cameras in, and instead of getting ticked off because they're swallowing up really state and they're in my shot, I included him. You want to see what the zoo was like? I'm gonna give you a slice of this moment right here for you to remember later on and it was a great shot. You six guys clamoring over the bride looking up, having her eyes done. Six really need six cameras for that. Ok is fine, so it becomes part of it so you could easily get flustered. I hear a lot of people getting flustered because video gets into their way. Work around it, we'll work around it or work there's always another shot. Yeah there's always another shot it's not, you know, it's kind of how we do it. Yeah that's how we do it, you don't get stressed out if there's someone doing something, just go for it they can have their moment to and there's always something else to photograph because if you think about it, if you the photographer gets flustered because something is working you your mindset, your heart all changes, right cause you frustrated now, now that frustration actually gets translated into the image is you may not know this, but you start having a kind of ah, a comment about what you're shooting from there on by virtue of your frustration and you see that your choices, your selections and imagery changes a little you're now ticked off and you're going to show it one way or another so it's easier to just get rid of that it's their day doing our own thing, you know I'm serious go to the own place, work around it. I always tell video because they're very cautious now with me, you know they've never heard my name and it doesn't matter to me they say if we're ever in your way no, no, no if you're in my way, I'm going to move I'm going to move I just make it very easy if I'm in your way please see if you can write right it's so great to see your thought process behind not only shooting editing and the final product for the client and there's three final questions I want to throw out at both of you just to kind of round up the cooling process that you go through of first of all the entire internet to the entire world is wondering how many images did you shoot together? Oh hey that's right here uh let me see six thousand two hundred forty nine actually you know what minus one hundred seventy so whatever that would be about sixty six thousand that much you and I you and I actually shot really close to the same number about three thousand I think I got three more than you did so typically though when we shoot it's roughly fifteen hundred each right it was a little more than that I don't usually shoot just a little bit less than you did this time and I usually shoot about three thousand it's just depends on honestly the number of images is very very connected to how much dancing is involved that's the least from my end because when people are dancing is getting really intense and you know you have you have five hours of dancing instead of you know, an hour and a half of dancing then you're constantly just trying to get that one moment where everyone's dancing and looking good and no one's eyes are funny and no one's hand is in somebody else's face and so you take a bunch more when people are moving around that much that's just the nature of dancing and the reception type stuff so what you're saying is that this reception there was a lot of dancing going on their way honestly usually gigs that we do I'm done after the first dance I'm behind my time is up and then rich days for another three four hours so he usually will get more images than me but I stayed longer that's right the way I usually don't get cake cutting I'm usually done by first okay, so you started with about six thousand images and then after you go through the first set and the second that you do a final edit about how many of those I could tell you what maryland yeah, I can tell you exactly what maryland would do she likes one hundred per hour that we both together yeah from both of us so she would knock this thing down to what roughly sixteen hundred images we'll know a little not only think about that because if it's how long we'll be shooting eight hour eight hours so that it would be a hundred each yeah be eight hundred twelve hundred somewhere in there is probably what and again, like I said, it depends on how many people are there and how much dancing and, you know, crazy antics are involved. And also depends on my interview with that client prior to the wedding that I get to find out. I love photos. Okay, so this is going to be a looser edit than normal, or the client says to me, you know what? Give me that best way down even more so I will give maryland a heads up that this could be a tighter edit. Or this should be a little looser. And I often say, you know what? Leave mohr images in this one because the bride loves photography and she wants to seymour so yeah, but say, out of the six thousand, we probably would give them about fifteen hundred somewhere in there. Onda also same. Same goes for black and white images, too. If the client loves black and whites great, we do a little bit higher percentage of black and whites. They can always come back as a color because in this case, resisting all digital rights when you shoot film that's a little different, they don't go to color. But but yeah for any color images to goto black away we can bring them back to color if they requested later saying hey, by the way do you have this in color but yeah, depending on the client will doom or less black and white they say I can't stand black and white for example were too much won't do any yeah so my question is when you give a black and white you just give just black or white but the colors available if they wanted that that's more or less correct yeah, I mean if there's like image right next to another we used to do it where we would give a color one and then a black and white of the site but the problem with that is when they're proving it when they're looking through the image there seeing the story and the rhythm of the whole thing you don't want to see this image in black and white and in this image in color because it's like it's like it was the same camera they should be both black and white or they should be both color right is kind of jarring if the two images shot with the same lens the same set up one's colored one's back away so we hope that the client just trusts our judgment on which ones go black and white and you'll see like the way I've picked there some images that I really do just speak black and white him getting his makeup on here where is it where is it where is it a man I must have gone here these images here because there's a little bit of flaring going on I mean it's not it's not because color balancing it would be a pain in the butt this image is black and white it just speaks it's me whenever this loads up I prefer this kind of thing in black it's just because of the way the light flares up it's just it's just buttery to may I don't want it to be in color necessarily also images that air shot through windows I know we have some right here these images of them looking out when their first meeting there's one in here that I really like somewhere I had fun with you here we go here we go so this image here it looks good in color but you see the purples distracting me the orange up here this image is black and white because I love reflections in black and white I think it looks so cool and maryland's learning timing this stuff like she's she picks it this way some people believe that one and that cool that's I don't is this is you right this is yours yes but yeah black and weigh this images just suited for it so again we hope that the client trust our judgment if they don't it's like a two step process you have at last question before we had to break that last of the three part question how much time from six thousand to fifteen hundred how much time we spend calling maryland does this in one day is she literally well let's back up for a second the first edit she doesn't one day right so one day maryland me she'll come in in the morning at nine o'clock by two pm she's done editing her first edit then rich gas from and converts those does the cleanup on them right? Yeah yeah I'd say the first the first ad it depending on how much coffee you have contained probably take like two and a half three hours maybe to get through I mean maybe a little bit longer for both photographers maybe four hours so she spends about but then the second edit like flies quarter the speed you can do it sarah how long does it take you than to take one wedding to take the raws color correct now that's a few days I mean not if you do not like you know but he's doing five five or six hour days I typically don't work longer than five hours when I'm sitting in front of a computer I go nuts andi you know it's just it's just how you arranged it to works out I sit there I just get into the processing and all this you know, the brush and the breast tool and exposures and all that and I'll go through them for about five hours at a time and it takes me I think two days, five hours, five or six hours for a wedding about this size we shoot this much yeah, two five hour days to do all the color correction and then at the end of the second day, I'll set it up to export and then I'll leave so the computer is doing all the exporting to j pegs on dh. Then the next day I come in oh, and I can burn the disks and I do the wow images like I was talking about those extra photo shops that we'll do later, I'll do those right before I bring them tj birds disc and then that's it yeah, about if there's three photographers and we have a three day shoot like the one in mexico that we just did that take significantly longer. You know my window from, uh, finishing the wedding to the client picking up or getting their images on picked taj is four weeks in the busy season. I asked for six weeks and, you know, little question, but we typically get in four weeks within four weeks ese, easy and he's not full time with me, he's they're two days a week. He was recruited three days a week. That's all rich works well, because, you know, shooting on the weekends to anyone, then right? And then I have to work on them at home. So, yeah, it's, uh, that's. Still a lot of thank you so much, both of you, for sharing so much incredible insight and a really wonderful learning process for everybody out here.

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