The Wedding Project

Lesson 8/29 - Bride Alone Outside


The Wedding Project


Lesson Info

Bride Alone Outside

Now that I'm out here one of the things that happened you could tell light is adjusted completely but the fact is I'm going to go towards the story so what's going to happen is I'm going to set this doorway straight open I hope that it can hold on and if not put something in front of it now this doorways interesting it's got beautiful grills it's got a great it's got all that sort of stuff so I'm gonna bring her right over here again I'm gonna be shooting with a seventy two two hundred I'm going again be looking to expose for the inside so let me ask you and this area here what is my main light it's daylight so I'm still going to be in house which shed so I'm just going to ask her to push open open the door, swing her head and look up and as I look out I see beauty so you just gonna push open for me and I wanted to look like it's natural or I'm sorry honey good holding it open bring your hands higher get out a little bit and what I'm trying to do is get out because obviously the last t...

hing I want to see is this now this is born there's nothing here what needs to happen is they're hip needs to swing so it's gonna push that help we gotta use the arm and make it flow now where are my exposing form could expose for the inside, huh? Back in her case, she's got nice muscle tone. I'm not gonna worry about her arms getting large not as much because what I'm going to do is I'm going to shoot up on her, so bring it right in there and we're working nice and simple and I'm going to shoot from back here straight at me. So with that being said will be nice and simple, okay? And I'm looking at it with this camera angle, I need to definitely blow it out and the reason I'm blowing it out because do I want to see the flagpoles or anything behind her? Not really, so I want to eliminate all of those things, so I'm going to make sure to come down low and those people who asked about me using the tripod, it doesn't really you could tell doesn't tell me now, does it? So I'm vertical at this point, I'm looking right in here now I'm hoping I blow that out, okay? Because if I don't what's going to happen, I'm gonna have a mess to deal with. All right in terms of photo shop with that flag or right there now this would be one of the times where if I was ever going to do it, I'd blow right out well, can I just ask you to slide by a tv a little thank you fine sir looking right out there let's take a look if I miss my spot like I'm about to dio I should shot to set a thousand enough sixteen so if they're able to see it at home, what do you think happened? The background is in detail and cheese and so it doesn't work as well. What I need to focus on is making sure that none of that happens I don't want to be a thousand I want to be a lot slower than that so now carrie hold on one second I want to get right in about their so now let's take a look I am all the way down I'm going to go in at about all that I got to find my focus like you said the man jakes may okay looking right here I'm going to go toe emanuel setting and the reason I'm going to manual is I'm having a lot of trouble trying to go in a program now so let's take a look so right now I'm at one sixty at f eleven and let's say if I got it right I should start to be able to blow it out so let's take a look you see the first one theirs and so what? And now the second one is going to blow sky high completely different look, isn't it? So you have two different vantage points, two different angles, but look at the curve of her body look at the simplicity behind it now from here, we're really starting to work and we're gonna push away out outside. I love this look, but first let's bring her outside, you could walk straight out, you're going to close the door because what I'm going to try to d'oh is do what? Shoot through that. Ok? So let's, go right here through the door and see what I can get the key to this is going to be the way I posed her because I want to set up the emotions though it's a candid moment, so I'm going to shoot through here, but what I'm gonna do is set her up out here. I want you to just reach down real quick like you grab and you dress, looking down there and you're gonna stay there, so I've created this look as a foreground from inside here and now I'm going to try to go, I'll go hand held because it'll be a tad easier to move around and I'm looking through and I'm trying to find my spot the hard part is going to be the media ring and now I'm looking it's an ok, now I'm too slow, okay, so right there and let's, take a look at what we get so you notice the big thing that happened at this point is I'm shooting through blowing out the background, creating the look from endures toe outdoors. So now that we hear let's go outside so we're gonna go right here someone could just grab my tripod and out we come so again was setting up the depth here. Excellent just make sure that we don't get caught on the feet here on what we're going to do is we have the opening here so let's, figure out how we're going to construct this thank you for the tripod can you grab that door? So I'm going to go straight up again with my tripod now I'm obviously have my hot spot down here I could use the solid wall behind the videographers or I could shoot into an open area, but I want youto see what happens when we start to shoot into that open area it works and nowhere near a swell let me lock in here whips I have my leg in excellent so now clearly the first thing I'm going to change is my white balance is going to go today like no, because already how did a daylight I'm going to go and change my aperture? Nope, I might change my shutter speed no, I'm going to change mice myself and adjusted so let's take a look at what we start to create here I'm going to use they're simple white chair on I'm going to put her right on the edge here okay so I want her on the edge of the light so look she already made herself look beautiful because just by the way she angled her body created but what's happening is the dresses and exactly form fitting she's coursing the front leg over which in turn is standing around bring your on back to the other side the chair lift up your fan in one second excellent bring your own back on the elbow of the chair there too good not just relax good now look at it turn your face to make more mohr now what's going to happen with the background it's going to do what blow out do I needed to do anything else it's a flattering enough where I should keep it I have to concentrate on one thing keeping crap out of her head if I do that I'll be in good shape turning your head to the right doing great we're going to bring this down nice and relaxed right there wonderful just relax shoulder turning your head out just a little bit and looking right here I could get some reflective light and I could use my pocket once it's in my speed like just a hint of what some light but it would just be a fill so that means there would meet her for the exposure on the face so let me take a look and see if I'm getting the light that I like looking at me here beautiful turn your head to your right tilt a little bit and turn now if you look I'm very, very hot on one side could I ask one person if you don't mind? Can we grab one of my flashes from the inside? I am going to fill it so now I've made this decision to fill it because I need a little bit of pop I can't bring a reflector end because if I want to use to reflect there is a phil but I'm doing a full length I'm never going to get the bounce back that I need so by taking the phil with the flash and setting a two stops under my control a direct from camera now here's the key should the light go on this side should it go directly behind camera or should it go on my left? Thank you. It should go on my left because we need to light into the face through the body of the female so remember that into the face through the body so her face is turned to her right? Isn't it? Faces turned to a right, which means I need to come from this angle so all I'm doing is setting it up I'm raising the light above camera and I'm keeping it really simple tilt a little bit drop that right on down a little bit just relax there you go perfect stay there bring it back a little bit further note bring it back on the chair that ago and looking at may beautiful tilting your head turn your head to your right absolutely gorgeous now I set up my angle I'm going to go right here on my a c unit I'm going to turn this down I'm going to go down minus two stops looking at me beautiful I want to make sure I have no lines in her head turn your head back to me just a tad good you are doing terrific I'm obviously going to go to a manual mode here so let me see where I'm at at this point I'm going to be at hello I'm going to go to five six and I'm going to go to two hundred chin down a little bit your eyes are off here smiling a little bit beautiful and let's take a look and see that we get it so I have it set for two stops thunder and if I get this right it should be a beautiful soft phil light and let's take a look I feel like I'm a tad hot just attack. So what I'm doing is the light is a little bit warmer than I want. I know this because I'm seeing a touch of shadow, so I'm going to pull the light down a third and then on top of it, I'm gonna pick up the shutter speed. And the reason for picking up the shutter speed is to let the background burn a little. People relax that right on top of a perfect eyes up here, smiling nice and happy teeth, and now I should be in pretty good shape. I'm at two fiftieth of a second. I'm at five six I got more background, I got good detail in the gown, I like what I'm seeing and we're all set in terms of what we're doing again, keeping it soft and easy. Hop up one second. Beautiful. We're going to bring her again to the edge of the light. You were going to come right in here. Let me see you put your leg in here. We'll just do, like go to being against the wall there. Good. You could bring it up holding ok down a little bit. Let me see what happens. Bring your hand down on the edge, you get a little bit of separation from the body and turning the head here. Now lean forward, we're setting up because we're going to move and put her in a different position. Now, with this angle here, the great thing is bring your hand in down more like that crack that, like, turn your hand in so I don't see the top, you see the difference in the hand, that little curve makes all the difference in the world. So now I'm going to kill the flash. Okay, I'm going to change my mode. I'll go into an aperture priority mode. Okay, let's, stay right there. I'm even going to bring my eyes so down looking down beautiful. I stand bring that hand down just a tad hold it just like that. Look at how it off center it so when I off center right there let's, take a look. We're seeing the right left, everything is blowing out at that point. Beautiful soft night detail. Any inside? I don't care about the background. Some of you may like that technique, some of you may not. So from here, let's watch what we do. We're going to start to change it up a little bit with her. Watch how we bring her here we want good light, so you're going to spin around I'm gonna ask her to take a seat on her backside I like playing her down, but notice how I raised address because one of the common questions miss, is she going to get dirty? So I'm bringing address here? I'm always talking to her making eye contact, keeping my hands away. You're going to sit flat on your back, ok? This way she never feel self conscious of me touching her inappropriately or anything like that. So it's going to bring it down? We're going to cover here and what I want her to do this, take our arms and open them in a wide base behind her. She could tell her veil came out a little bit because she sat on it. I'm going to come right there and fix it because I also have that capability good. Here we go now I want you to bring your head all the way back to may had all the way back. Open your base wider on your arm so I get more out of you. Excellent and now you look, she looks quite sexy doesn't check, but the key here is to turn or slightly to the light. Let the light go into a face that a hair fall back, and now from there we'll be able to create our image show I'm back behind camera. Head back a little bit can you spread just a little bit wider with your arms? Excellent and I'm going to move over just the cat can I have you slide back just a little bit got a little bit right there close your eyes beautiful and now hold it there let me make sure I got what I want in terms of exposure I d'oh excellent make sure that it's not cutting through her and through it we're getting a deep, deep look at that and now from here we're going to lay your down flat on her back. Ok? And now here this is important for a face to the light turning her head back and now I'm going to start to cover up just a little bit to make it soft and angelic and camera angle is everything gonna bring her hand back so right there covering around when you're him back just a little bit and relaxing I will add the groom later on in this sequence. But right now bright alone and I know some of you here and some of you are sitting home saying my bride would never, ever do that. Do you think I'm asking her opinion or if she wants to do it I'm telling her to do it because she saw it in the studio, she liked it and I need to produce it it's that simple what they see is what they have to get you have to explain it to her ahead of time look at her here depending on the angle you're at can I ask you to slight to me and decide is that a big deal? Because I wanted to see improper angle I'm going to glorify your nose right now good perfect can you come into me a little bit? I want to see shooting up her nose so they know the precise wrong angle good don't worry, it's clean if you look people love to take this angle here human right on the nostrils. Okay, this is the wrong angle from no matter what the angle should always be like any head and shoulder portrait. All right, we've had enough you you're good now way wanted to be slightly up above eye level so if you come in from here this would mohr b you're better angle come up over here and take a look and look at the difference in her from this angle makes a world of difference now from here I'm going to get two shots so we're going to pull our cameraman out so I can get in there again is no phil whatsoever here other than the existing like head back beautiful looking at may you were doing so good I could not ask for better maybe a little good stay right there. You're doing terrific absolutely beautiful looking at me here smiling nice and happy wonderful, excellent look at how beautiful the light hits her face so the first angle is above eye level just like any typical had an shoulda portrait the next angle pretty nice right? And if I have a dress under without those lines looks beautiful and I'm going to crop in on that remember my cropping is not going to have any background head back to me beautiful now I'm going to get on the same level as her but I want you to look smile do you see a forehead crease up? You need to relax no you don't leave bo talks your beautiful eyes back close your eyes control it looked the softness in the face this is one of those times that could close the eyes and it doesn't matter so I'm going to focus in I don't want to give everybody treat look right there close your eyes I'm going to focus in on the eyes and over soft background and even its seventy two, two hundred take a look my exposure's on the face and looking how beautiful it is what's happening is the eyebrows are in focus and everything else starts to soft and behind it take a look that's quite beautiful, isn't it now we're going to try to open our eyes up but we got to control the forehead, turn your head to may head back, relax, turning head down so offend. Relax, close your eyes open slowly. See the difference. Just those little things make all the difference because now no lines. Eyes on may turn your head to me a little bit. Now turn it down nice and relaxed. Good looking well, actually, forehead soften, smile. I got a little bit of line in there, but I'm going to deal with it because it could very easily clean it up and take a look. She looks beautiful, soft and easy. Now take a look. There are so many different poses that you can do in this sequence. There's. A lot of information here for you to see how many different poses did we do of the bride alone today? How many different engagement sessions it all starts with understanding the light. It all starts with understanding the sequencing. Everything you do is based on good light. Everything you do is based on type of light, direction of light and, most importantly, taking your subject to the light.

Class Description

Join award-winning wedding photographer Doug Gordon for an unique introduction to the lighting, posing, and shooting skills you’ll need to take gorgeous wedding photographs.

Using his one-of-a-kind teaching style, Doug will guide you through lighting and shooting every stage of a wedding, including engagement sessions, bride and groom preparation, family portraits, and the ceremony and reception.

Through demonstration and discussion, Doug will also cover key aspects of lighting and shooting weddings, including making successful sales pitches, seeing and using different types of light, posing family portraits, and troubleshooting potentially stressful family situations.

The way you light, pose, and shoot defines your style as a photographer, and whether you’re a novice or a pro, Doug and this three-day creativeLIVE course will give you the tools you need to develop your style and shoot with confidence.

This course is part of the Wedding Tutorial series