The Wedding Project

Lesson 24 of 29

The Reception

 

The Wedding Project

Lesson 24 of 29

The Reception

 

Lesson Info

The Reception

I want to take you through a little bit of a different area here. It looks like was set up for a reception and that's all great. But one of the things that you hear all the time is what happens during the cocktail hour. What you're going to do during the cocktail hour. I don't want to go around and take images of all these people eating there's, nothing flattering about it. So if I could have my bride and groom come in, I'm going to need matt. Rachel. What I'm looking to really accomplish here is to get them in this case, it's. Such a small grouping of people it's, a small reception of like thirty people, I'm looking, you guys are going to go right here. What I'm going to ask the crowd tio dio is, I want you to pretend there's not tapes lt's, because it allowed in new york city weddings, just not people's. I want you all to kind of stand up, and I want you to mingle and talk to each other and I look to create I have to stop. I didn't expect the chairs old to make that much noise at tha...

t moment. Okay, so I want you. You don't have to mingle at your table. Just go over by the cake over by a window on what I'm looking to create now is a dynamic. This is what most people do on dh. I hope you guys hear me. Well, you don't have to talk that now. Dynamic is very simple. I'm looking to create something. All right, hold on. All right, way have to tone down our talking a little bit, have soft conversation and talk to each other. The idea behind it is I don't want to take this big group of people drinking I want to capture and be a conversation I want to be that fly on the wall and it's one of the reasons that in a day time cocktail hour reception, I can move around freely and I look to hit like, I don't want to make myself obvious. I want to be like that little guy who's in a bush peeking out. You guys are talking to each other, having a nice time and I'm looking and I'm cropping in and well I'm looking for is the perfect little spot and being patient I'm waiting for her to turn her head and I'm waiting to see the shot where I grab it get it nice and smooth are we tethered yes we are and then I'm looking as they have conversation there talking just like that excellent got the move just like that they're talking to each other excellent looking for them to smile I'm waiting patiently and I'm waiting for the laugh I'm waiting you guys don't look like you're having any fun good just like that stay there and moving good stop for one second guys everybody stop for one second please so if you look I'm moving around and capturing moments I'm not looking to fill flash I'm looking for beautiful angles I'm looking for beautiful light I'm looking for natural candid moments I don't need have got and this is a beautiful moment this is what you should be doing during the cocktail hour or simple things like this you see two people together can you guys let me get your arms close together heads together guys arms around each other I know you don't know each other but lina nice and close next unhappy looking right here guys go get me guys who could be guys look right here don't look at him do you know him already is not good lean in close together looking or ideas stay there guy smiled and that's it you take a simple quick moment of people looking because here's the difference as beautiful is an image of mama's that is guess what most likely it's not going to sell its a fluffer image to the story you guys could take a seat for a second so I'm walking around the cocktail hour and I'm generally taking available light looking for it on keeping it very very simple now here's the thing that you want to do during the cocktail hour you want to go into the reception room on the cocktail area and start to take the details there's a lot of time put into this the salt shakers don't count I want to detail off place setting I want the empty room right now you could tell I'm using the seventy two two hundred so I'm coming in here and I'm looking to create a dynamic so I'm right there what so if you look right there I'm taking a dynamic just getting a place shutting and I'm blurring the other things out I'm looking toe find every little thing like the bride and groom table all of these things require you two have patients now you just saw me take three shots obviously I'm going to take a lot more off the people in it but who were the key members I need to focus on look at this guy they don't even like him he's like a table eighty five and miss rose there nobody likes choo I hope your gift sucks don't give them anything good they moved you too far away the fact is very very simple this key area in a bigger room is going to be the most important part you're focusing on the parents you're focusing on the girlfriend you're focused you're focusing on the bridal party and all that stuff in between you have to really work the magic now I got to be honest this reception is easy to photograph is that could ever really photograph it's easy because I have so much beautiful light in this room it's quite simple so let's talk about the light one of the things that we saw hung line is people I spoke to you the other day and said you have a choice if you don't have resource is what do you need to be a resource for so let's pretend I cannot avoid a pocket wizard and multiple flashes I can't afford it it's just what it is at this point so I'm going to go to old fashion light on camera so what we need to understand is right now for the most part we have light flaring through on both sides of the room I'm going to switch my lenses up for this segment can I have someone grabbed the twenty four to seventy out of my bag please thank you michael the idea here is I have to know I have the perfect easy reception room because this is his white iskan bay, right? Thank you. Find sir, the wall is white. So if I decide to make the decision of okay, let me do this. It's not gonna work. You see this great piece of top aware as I call it it's a wonderful piece it's a gary long gary fong light diffuser but I don't want directional light. I want soft light so the idea behind it is I'm going to go up people think they pointed up the problem is where the shadows in most occasions if you look around the room, the shadows in the eyes, under the nose under the chin. So what am I doing? If I bounced the light up, I'm going to get the same shadows because it almost always comes from up above, right? So the idea is start to make it reflective so I see people go like this and pointed off the wall to the side. The only problem is if you pointed off the wall to the side and they're walking in from here one side's going to get hit harder, so the idea is to know where to go with it, so where is the most logical place going to be coming back at me, which means I may need tow pull the diffuser off one of the things that I see people dio and nothing good can come of it if you have a light on camera, do you really want to go like this and go vertical and start to play this game here? It's not going to work if you're getting any type of direction, if you're pointing it back and up, then it may work like this, but if you go here and do this, you're going to get a nasty shadow coming from one side so again keeping it very, very simple, so the light here is going to be reflective. So let's, can I get my bridal party together as though you're going toe? Walk in for me again now here's the thing I generally shoot this at about fiftieth of a second at five six with high are yourself know everybody, for the most part is panicking right now at this moment, they're panicking, thinking, oh my goodness, you biting groom khun! Go to parents would be out there, everybody would be out there, guys, you could stay right there in front of the camera man or close from just don't block his view. The idea here is a fifty five six with the flash, I should have more than enough power. To freeze them, but you're all thinking a fiftieth of a second. Aren't there going to be blood? Isn't there going to be blurring? I need to slow down to allow ambient light to do what burnin that's one of the reasons that the d for it's so important to me because if I really was shooting this, most likely I'd be using this and I have it up on my bracket, I'd be pointing it using the fourteen to twenty four, and if I wait for the subjects to get right about here, is that going to be more than enough fell? But again, I don't want you to think I'm on lee trying to sell the light, so get together with your partner on dh, whoever it is doesn't really matter at this point, I want you to look at the difference, so now I'm going to go into the first thing I'm going to do after I shoot all the details in the room. What are the details? The details are the cake, the details on the table settings, the details or the bride and groom. I'm going to show you the cake and a little while because people screw that up, too. All right, I'm going to show you how to do that just based on location, okay, so that brought you to lock on like you coming in? You don't have to look like you're walking down the aisle. What you need to look at is look like you're having a good time and there's a deejay rocket in now generally I'm going to shoot it with the tripod, but I don't want anybody to think that's what you have to do some turning it this way the first thing you should do before you even start is take a shot about where you're going to get them and look and say so I have my subject right here he's close enough, he doesn't even have to be looking at me. All I need to know is right now in its sixteenth of a second of five six so if I'm looking right here I look and say you gotta work on it so now I look at it and I say, ok, my light is a tad under exposed, so from here I'm just going to go and right now I have my exposure compensation said it minus one so right on the back of my speed light, I'm going to kick it up and I'm gonna go two point seven, I'm gonna go here, I'm just taking my wide shot, checking my spread okay and then I look and say ok am I good what is my main light in this room right now I'm looking at it I got pretty good light there don't I? Okay he's distorted I'm not worrying about I just want to make sure he's fault so now one of the things that happened people worry about when they're walking and because you two are not gonna walk in like dish back yeah yeah yeah well pumped up and doing it as much as you can go out you two are going to go and so they're walking and they're not looking at me if I get them to look at may it's boring I want them to be having fun so the easiest way to do this is if you can you want to try to focus on the spot but most people can't because they're losing the sport they're losing that spot could be very precise so what's going to do is focus on an edge somewhere so what I could do is focus right there guys start coming in you guys start coming to me looking right there I could focus there and when they get their damn stop so I'm doing at this point you guys are going to follow that fast is by doing that and locking in at this spot right here that means that I am stuck with whatever they were doing at that moment does that work? Well, I don't think so I'm looking at it now and say I might even be a tad hot I'm shooting horizontal, knowing that in the end that I'm going to crop out the camera man on the left and I'm gonna crop out the guest and go to the right so now watch the difference you guys back up when I wait for them to come to me so what you have to do the first thing I look for start walking just you wanted two steps go I look at this stop, I look at their strike, I'm looking at their stride and I've seen okay eric's, bigger he's really wide he's short and you'll see me adjust to it. Why am I looking at their stride? Because I'm going to move with them at that read so when I see him go I don't want to do this because of god when he's running and then take this person out. I was in a church about eight nine years ago and at the back of some of the churches you know how they have the fountain. Sure enough, I made my way into the fountain, got a concussion, cut open my head and bled into the holy water and this's what you got because of it, but the fact was I wasn't paying attention and forgot it was there you need to know your surroundings because if you don't all of a sudden and I'm coming and I knock over grandma I knock over that one I just wanted to say grandma, everybody loves it when I say okay, so now they're walking and usually you guys are gonna wait till they get there ok start going I'm working I'm going just like that good. Stay that excellent. Got it? Next one, come in. I move around just like that looking right here. Excellent. I want you to notice one thing. Look at my body position people can keep walking good just like that. Excellent. Why is my body low? The reason my body is well, take a look I didn't give the flashlight enough time to recycle that creates a problem and it's gonna happen I got to give the flash the time to recycle should have changed the batteries out before but here's the key thing the reason my body is low is because where I'm from in every situation there needs to be an ugly green exit sign right on that door. Okay. With that ugly green exit sign, I need to do what hide it because I don't want to be going on cloning and doing all of that stuff now they start walking, k guys start moving towards me can you two look like you're excited to be married just like that excellent going right there one two three give it a chance to recycle bam now I set it up I got the bride and groom they walked past me everybody standing up there clapping I tilted and someone saying look he took it crooked I didn't take a crooked for any other reason I wanted it to be I got my moments and like I said you could see now why I would want oppose whatever I can there's nothing great about this moment look at what I'm doing with the flash I'm removing it I don't like it it's not my friend I have so much beautiful light and here we set on day one what's the main light what is it like it's clearly daylight so now immediately after this where I'm from they walk out the deejay says your bride and groom mr and mrs matt whatever and then they walk in everybody screams and yells they come in the first one where it's tilted I'm gonna go black and white second one I'll go color now what I'm looking to dio is the deejays say ladies and gentlemen could clear the floor the bridegroom going come out for their first dance they've chosen a beautiful song the wind beneath my wings they come out you literally have a split second to do this split what they do is you could go and shoot this way, that's the most logical way to go and then a flash would bounce off this wall. Now, here's the difference what I'm going to do is look for my opening. I know that I have light coming through look at the light on the base there and it spent turned to may you took the long way, matt, I want you to notice there dancing, but they don't look like a couple, do they? You don't teach them, right? You gotta bring them together. So what I'm going to do if I go this way, I'm going to get these people in the background. Do I want them in the background? I do not. So I am going to go this way. But then I have to add light heads together, going to turn towards me. This is what they do. As soon as the bride and groom come out. Soon as they come out, I've now switched into programmer aperture mode. At this point, I have my light on now, in this case, it's set for daylight. I'm looking it's overpowering. I want to keep it soft because I'm looking for phil and then I woke up from you guys walk out. Pretend you're just walking out they're going to get ready for their first dance all of a sudden this is how I make it happen guys get together grabby hands hands together guys look at me cheeks together cheeks together looking at me right here smiling makes unhappy stay there excellent wonderful I take two real quick the light can overpower because if the light overpowers what's going to happen is you see that big shadow so the light needs to be tuned down and I forgot it was on exposure compensation so they're going to get together I want to make sure that I notice the light so look at the difference this is to hot bringing guys get together cheeks together look at may good rachel, turn your head to the right turn you head to the right looking to me to lean forward lean forward guy smiling teeth excellent. Now look at the difference when I don't overpower the light look at how the room opens up, okay? It changes it completely if we turn the light into two powerful is set up it's just going to totally look at the difference that's a lot better image isn't it now this light becomes part of my main light I want you guys just to pretend you're dancing you're looking at each other and watch how I rotate good looking at each other stay right there accident notice wonderful don't keep dance and keep dancing you smiling looking right here excellent, good wonderful! I'm waiting good. You guys are terrible dancers. Excellent. Just like that looking to me here she is into you, man. I think you're hooking up thie idea is to keep it simple and quick none of these shots really matter in the sequence mom and the door will be out of it. I have no interest in them at that point I'm going over the shoulder on capturing the simple emotion. Look at how easy that is those a great first dance images, aren't they? Why? Because what am I looking for first? And how students what am I looking at first the light is always a direction now let's just say this is kinetic lighting that's that blue light that red light if it's blasting around the room you were goingto over need toe overpower flash will overpower too much where you don't see it the torch light will help me tow overpowered enough but not too much because do you want your bride and groom going red or blue or green or yellow? You want to keep it simple. Okay, the next thing that's going to happen watch this and this is where it becomes a little bit more complicated the deejay says, ladies and gentlemen we'd like to invite all the couples out to dance for each couple that joins up with the bridegroom it's gonna bring them one more year of health happiness and good luck everybody hop up grab a partner and join your bride and groom this is an easy thing for me to do right now except for a ll the chairs okay it's very easy so everybody if you have a partner wait a minute eric and hollins you have to get together not just okay so it's very simple but watch what I do this light you don't have to talk during it again it's about general direction now if I have this light on a stand I don't have it on a stint you don't need to dance like that there's no music you see the light here this is not the stand I would use the stand that I have during the reception has a base of about this big it's a photogenic castor based stand on wheels looks like an I v pole that I roll around this is too wide to base the bracket which I forgot to bring my bracket has an extension arm that I could put it on top but it's very simple what I'm doing watch right here now because I have this stand that's going to change things but I want you to notice my interaction to the couple's everybody get together like they're dancing just start dancing and look with you guys look right here cheeks together looking at me guys next unhappy cheeks together excellent state of wonderful thank you very much like your guys nice and happy look your grandpa are you doing terrific? Stay there. Excellent. Don't you move looking right here guys cheats together cheeks together spy under eighty and makes him happy so she is into you do you see how quick I'm able to go from one to another? And now do I care if my exposures are off a little bit? Am I looking to create a picasso here? As long as I get most from I'll open up each one you guys relax, okay? On dh then what I'm going to do is go from one couple to another you guys could take a seat I'm going from one couple to another and I'm trying to make sure that I get my exposure where I want to go it's that simple it's not easy. All you're doing is moving from shot to shot and you're making sure that you capture each couple because what's the one thing that most photographers don't get, they don't get an image of every single person at the wedding right here I can do this right now the second now some of you where you're from may do table pitches and saying this table's fault I have to watch a couple of things if I'm doing the table I have great light I don't ever want to shoot them going this way or this way I want to go this way or this way why? Because a beautiful window light him this is the perfect reception so now the next segment of the wedding is the toast so let's go upon hans, do you have a champagne glass? Well, I just fake it doesn't matter if you have a glass or not. Look at where I'm setting up my life again it's my torchlight and now I'm going ask cons he's going to go up next to the bride and groom right over there and I'm looking to get one thing heinz is most likely going to start talking to the bride and groom during the toast because that's, what he's here for right? I'm switching back to my seventy two, two hundred to be honest with you and most cases, I'm going to use my seventy two, two hundred for almost everything is you could tell I think out of the three or four hundred shots have taken I pretty much use nothing else, so in this standpoint here, all I'm doing is hans would most likely go in the other side behind the girl I'm angling into the heart I'm going through her into the face am I ok that I'm going abroad bite her I'll deal with it I'm going to be right in here so hans, you start talking you guys are looking giving the toast and watch what we start to create e terrible okay, take a look right now so we lock in our exposure we get hans her eyes are closed now he is one of the things you're gonna learn an editing is the image dead because her eyes are closed the image isn't get because all I'm going to do at this point is go in and crop from hans to matt and eliminate heart because I'm going to get another image of heart I'm going no we don't even like you good looking over go continue on on look what we do to make up for it try going with you you get the image so now take a look we get the close up of her again I just really love what you're doing with your eyes here it's spectacular so now as that's going on, I'm moving and I'm starting to feel treat around you can continue hans band camp take a look so all we're doing at this point is moving and changing and setting up on now what I've done is I've started to capture different angles you can on ly get so many images of him giving the toast him and then laughing but you want to get different angles, why stay here in the same spot and get bang, bang, bang, bang, bang! You look for key moments, like one of the key moments. What I probably moved during this is I would take these and move them to the side because they're creating a distraction in front of them. And I know my next sequence opposing what it's going to be so you could continue on, and I'm just going to float. So you were doing a tremendous job hunt wait. Okay, holland's, excellent job. Don't go anywhere. So now you notice you're starting to get these key moments? It's good, soft light exposure is good. We got detail. We're all good now, here's one of the things you have to realize before hans ever made the toast, I had a conversation with the parents before he ever makes the toast. I walk up to the parents and I say, mom and dad, if you would, could you please come up after the toast with a champagne glass behind the bride and groom for a photo? If you don't mind, dad, I'm going to bring you up with your beautiful life. Mom, you're going to come up by yourself, you two are going to come up and you gonna wait one at a time inside, so immediately, I'm bringing them up because the parents are an important part, even if they don't make a toast, I want to make money off them. So, hans, you're going to go back behind a bride and groom so immediately after the toast. This is what I'm generally going to dio how science is going to be over here on dh, then the bride and groom, when he stunned, are going toe. You're going to come over here, hunt, they're going to stand up and going to go and give him a hug. In most cases, nothing good's gonna happen out of that. If I'm lucky, I'll get a decent shot, but what I will do is now immediately, I'm going back. Barney, could you guys consider hans if you would please go behind the bridegroom? What glasses together in the middle, everybody looking at me. Guys, take a seat, you guys going to take a seat forming good? Hans lina, nice and close arms around each other, beating, of course. Good. Take your glass, shipping glass in the middle. Good. Look at matt set up he's. Got his glass and the right hand, which keeps his body wide open and straight to the camera. Matt, can you just switch a glass to the left and bringing it together? Leaning in nice and close? Guys, you're looking at me here smiling. Everybody turn your head to the right, rachel. Little bit. Looking nice and happy leaning in close everybody nice and happy. Excellent. One more. You doing? Terrific. Excellent. Thank you very much. Mom and dad should already be waiting. Could I ask mom and dad to the bride? You guys going to come up right behind a bride and groom real quick? Which glasses in the middle? Dad wants everybody getting on deck. Here we go. Meaning a nice and close arms around each other leading a close together. Dad. Perfect. Bring your gas into the middle, sir. Good. Just like that leading in meaning. And everybody, mom and dad lean forward. Mom lean over a little bit, and I we forward dad doing forward a little bit more. Good. Not lean out just a little bit because I see that shot off. On dad dad lean forward sir nice and happy dad keep looking happy smiling teeth excellent don't move just like that. Excellent mom and dad, could you step to the side? I'm going to need you in one second. Good. Mom, can I have you by yourself real quick? Mom forgot a glass. Mom, you're gonna come right in the middle right there. You're going to go in the middle right there. Leaning close. Everybody just like that bomb meaning a nice and close. Nice and happy st their teeth one more. Hold it happy. Excellent. You're doing terrific. Mom, you're going to step to the side. Well, quick, dad. Beautiful. Miss melissa, you were going to come in close together. Melissa, right? Michelle I'm sorry. Lean in close arms around out in the back bring us together in the middle there leading a close classes together in the middle looking at me. Everybody stay right there nice and happy one more for good luck you are doing terrific. Everybody looking here. Excellent god, you're going to step to the side. You guys hold on one second guys arm around each other in the back glasses together in the middle you're going to look at me lean forward a little bit for michelle, turn your head to the right sorry not michelle. We need clothes, florid rate so nice and happy smile guys look at each other real quick looking at each other stay right there till two top your head to me. Rachel good smiling. Excellent. Don't move now good mom and dad, you're gonna put your arms around each other really quick they're going to look at each other, arms around each other cheeks together, glasses together in the middle lean your body's forward to me, guys nice and happy. Stay. They have looked at each other. Excellent. One more. Just like that. Look at each other. Look at each other dad I know you don't know about enjoy a good, excellent stay there. Wonderful. Good. Mom, can I have you right over here with your handsome son? You're gonna hop up for an image with you, son, see what we're doing. We're making everybody feel a part of it. We're getting all these couple shots. Are these going to sell? They're going to sell hard. And the album good mom and son, we heads together we forward to me guys, just a little bit leaning forward. Make sure that we don't have things in ahead bomb lean forward, chin down, spying beautiful, excellent look at your son nice and happy just like that look at your mom jim I'm happy. Excellent. Thank you very much. Dad, can you put your hands around your beautiful wife over there? Put your arms right around each other leading in nice and close together heads together, glasses together lean forward to me guys nice and happy looking are cropping stay right in there we get all valued in close enough we turn up our power if we have to lean forward to me just like that and make sure we get all that junk out spying now look at each other guys looking up looking they're excellent. Wonderful. I'm already done with the toast. How hard is that? And I got how many of the sequence shots is he gonna love? Is his mom going to love that photo with son? You're buying it now, here's the other thing most likely the bridal party won't be sitting together. They'll be sitting with their escorts, so what I would do is go around and but I can't see you have anybody with you. Yes, about the issues right here, guys, can you slide your course together, arms around each other, arms around each other, guys leaving a close together heads together and lean forward to may one two three damn got it good. Can you guys put your arms around each other leaning real close arms around me leaving ford smiling nice and happy excellent good guys cleaning close together nice and happy everybody looking at me look at you grabbing austin yeah got it perfect now I'm making myself well known at the reception making myself a part of the reception they all like me so when they get married who were they going to go to and I took a beautiful image of them on when they go online what's going to happen ok do I worry about the exit sign there? What am I going to do to that image and finished image? I am going to crop it square gone simple and easy ladies in the back susan kenna do we have any questions from people at home? What do you think, doug? Hopefully so that several people have asked this question I'll just ask one this is from tariq b who is from barbados outdoor night receptions are fairly common here and not a lot of ambient light and nothing to bass what can you advise the torchlight also a lot of people talked about indoor receptions also know ambien well one more time using the people the torchlight the fact is if I was inside at night doing introductions and all of that what I would be doing for the introductions and the fast segments in it I would be using multiple flashes I would probably have a speed light in every corner of the room coming off and I would try to find an equal balance in here of about five six, but I would be reflecting all over the place to get it, but I would only use that during the dance and most other cases, I'm going up my eyes, so match my torch light to the existing ambient light. So if it's tungsten light, which is predominantly baby, I'm going to use that during a reception or a night time. I'm sorry during an outdoor reception or a nighttime shoot generally going to use the tungsten from the torch light as my main light if I wipe balance for tunks than what's going to happen to the sky it's going to become what blue so it's going to open it up? If people look on my web site of the nighttime classes, they'll start to see that happen. I love shooting at night because if I use soft fight, it allows the sky toe burn in and open up and get really blue because I'm white balance to orange, which I absolutely love most of my destination weddings are obviously outdoors on a beach at night, so you usually have a couple little, you know, fancy deck lights or things like that, and the idea is not to use a lot of players should make you go black, you want to make it go open up and that's. Why? I used the torchlight ninety nine percent of what I do in a receptionist torture on ohio yourself really hopeful, and I think I've seen again, a lot of people who just do have speed lights a and you you mentioned before, but people are so many people are asking about this about when it's dark could you go over that again? Working with you know what you would do with if it was just one speed light that you had that you were bringing around with you, but I have one speed areas. Well, if I have the one speed light it's going to be on camera, obviously on what it's going to be doing is I'm going to look for the reflective area in the event that I have to turn it towards the bride and groom, I'm not going to point it up, I'm gonna angle it down just a little bit towards them. So the idea why I'm having so much trouble, I'm going, angle it down like this, and then it's a little card on the inside of this. What I'm probably going to do is bring it up just a little bit to get a little bit more down with action on the flash, just a touch, and then I'll have this to defuse it, but most times if I have a white a room that's smaller like this, you're going to use the reflective surfaces you just want to keep the lights soft. If you go directly at the subject, it's not going to look pretty it's going to be too harsh, it's going to be too strong and a few using multiple lights. The idea is to keep environment this part of the room, I want to be a five, six of them at this point, I want to be a five, six wherever I am, I want to try to have a consistent area on the dance floor and remember, if you have speed lights and you're firing multiple ones in the room, you want to try to have them on pocket. Where sits the pocket? Was it's going to make all the difference because you're blind a sight issues if I'm hidden behind her, nothing good is going to happen from now if they start dancing what I used to torch light in some cases I would on camera off, set it up on my bracket and go right from there and turn up the power to slow it down so I could get a little bit of a high shutter speed or I will bounce the light at that point toe open up the room. All right, tear kay asked is there an alternative time to take the first dance photo instead of interrupting them before they start to dance? Well just listen to what he said is there an alternate time when did I do it during the dance or before I did it before and remember if I never ever took that first dance picture, would it really matter? I just need one of them looking at each other was showing the environment around them because I have all those other plug ins I started a long time ago remember when I started shooting most of our pitchers were looking at the camera so I always still take that first stance one looking at the camera I'm doing it before they dance what she was asking is there an alternative time besides before the day before right before that I could go and take it in another point but I'm not going to get that war emotion that's available at that moment and I'm doing it before the dance I'm ok with that as long as I don't interrupt the actual moment remember he's inviting him out? No, I'm saying guys look you're looking and I said happy damn done how long's they're taking may you saw I was able to stop pulling through couples and seconds and that's the whole idea can be great thank you all right doug, do you ever shoot with lens hoods on your lands, this is from nebraska. One know why, or why not. I don't use land to it because it's just another piece to carry. If I need teo, I have it in the bag, but I I got to say, I never use it. I'll use my hand or work around the flare and moved the camera to it and adjust.

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

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