Wedding Photography Weekend

Lesson 12 of 49

Bride and Groom Prep Q&A

 

Wedding Photography Weekend

Lesson 12 of 49

Bride and Groom Prep Q&A

 

Lesson Info

Bride and Groom Prep Q&A

question from j l photography do you typically use the gold side of the reflector or not yes we use um way was white silver and gold a lot and uh silver dependent depends on the reflector what reflector we have but yes and it all depends on the use so if you want actually a great time to talk about uses um a lot of people are like ok we've got white we've got silver on this one we've got silver and gold and then we have black what the heck is black for and then in between you've got a diffusion panel to just soften light so really the uses of all these is white is going to give you the softest most even and also returned the the least amount of light because it's very very soft so when we're bouncing direct sun so if the sun is coming over our client's shoulder like joanie was a bride but she was six years ago the sun is coming over the top of her head and I'm trying to bounce light back in her face from the direct sun if you use something like silver which is very reflected and very s...

peculative it's going to shoot a hot spot on her face looked very unpleasant so in that case we're going to use the white because it's going to send back a nice beautiful white light source that's very soft and even if we're on a cloudy day for in open shade or in somewhere where there's not direct sun like in here we can use silver or silver gold or gold and that's going to bounce a lot of light back gold is just gonna warm up the light silver is going to be more neutralized silver gold kind of is the best of both worlds it bounces lot of life that it warms it up just a touch which is kind of nice so then we use that so cloudy days we'll use that as a film like um silver obviously the same thing a silver and gold it just doesn't have that gold warming tone to it black actually reduce his life so if jodi was standing here and we had really really even lighting what we wanted a shadow on the side of her face we could hold up black on that side it with subtract light and make it more dramatic on one side and then of course the diffusion panel if we had direct sun blasting in the face we can put the diffusion panel between her and completely soften out light up so those are the uses the most common size that use air the silver gold in the white those are what we predominantly used all the time and it's and this is actually an inter fit reflector and they have like a rip collector kit and what we like about this is we have the two most sides that we use the most common honey on the opposite side so you can unzip this and swap it but it's just a pain in the butt so it's really great because we like the inter fit kit and stand that they have that only their kid comes like this so way also have a diffusion panel separate so we have two reflectors or one diffusion panel one reflector with us at all times because you don't want to zip this off use it as a diffuser I'm gonna have to put it back together and use it as a reflector takes way too much time I'd rather this pop one open that's a diffuser pop on over that's reflector much faster as we always have to question is back and this is from a benefit wei have one from inter fit we have a couple of huge diffusers from west got lighting on they all they all make reflectors and if users as well hey jodie yeah meredith is wondering as a female photographer how do you affirm a groom or groom's men and get them to feel more comfortable do do anything different than zapped us and you're good question often times I'm not the one you should like shave him getting ready and I will take a couple of fortress of the groom like I did when it's time the groom portrait times but oftentimes I'm at the side so I'm not the necessarily the lead one interacting with them I'm more at the side coming in but if I were just a woman photographer I think some photographers tried too hard to be cool oh yeah you look so masculine and he's like shrinking I think it's just really important tio I say I think I have to be a really good people reader you know like if the guys want to like throw around jokes and a lap it then you know that makes their egos feel awesome and then you'll win them over that way but um I don't really answer that question but how you interact with like the guys and stuff I think I just play it cool and just be yourself alright be questions yes we have some lights coming in good or is that I have another question from j l seven photography but actually I'm sorry excuse me um uh I'm sorry was from greg mack and it was zack had the reflector on the same side of the groom as the window and why that's that's the only place I was getting any light so sometimes you know I was still able to add it to the shadow side of his face which is what I wanted because he was pretty heavily shadowed this particular area didn't have a lot of light in it um so sometimes you'd be surprised you gotta go where the light is so wherever you're going to get light from sometimes I'm moving it around trying to find out there it is shoot around me you know so that's why I was moving it outside because that's where I could find it and judy was standing to fart on my side so I didn't want to go to the other side because I felt like I'd be in her way from the direction she was trying to shoot in system times it's not like necessarily going to the opposite side of the light to fill in the shadow areas sometimes it's we just wanted to be more dramatic and we want the highlights in the shadows so we'll just add to the highlight sites it really just depends on what look you're going for in where the light is where your big able to perfectly reflect so a question from hello fabulous e uh how would you suggest shorter photographers to get above the bride and groom for a downward angle shot and this was actually asked way back when you were talking about and shown us images of in the church itself is well as you were saying zach that you try to get kind of above and through I'm wearing a stool with you what do you do other than chairs you know we're not toss for tigers on the planet in case anybody didn't figure that out I'm like five agencies like five five so I know michelle celentano who's like five two or three or something pretty short she actually amazed to make this box that was light weight you could break it down and she would stand on this box and carry it everywhere with her well and I have like a strap and then you could put stuff in it so it's something where she could put stuff in it throat over shoulder move around and then she's set it down and stand on top of it so we'll use theirs I'm sure there's things out there like that and then we'll try and find things to use don't stand on pews because the church ladies don't like it very much and always make sure to ask before we're shooting a wedding this last weekend and they were really into art and stuff in their home and it was kind of like an antique looking chair in the room getting ready and you know I asked taylor is like hey is it okay for me to stand on this chair she's like oh yeah it's fine like okay because I'm like I don't want to be like an antique and then how does that make them feel you know more so toe always ask teo I mean we'll do anything we can if you have to sit them down and that's the only way to shoot down to get that shot set him down if you have tio stand on the curb and that's the only place to get the shop and stand on this really high here we'll do anything we can do a lot of times I've done this you know standing on my tippy toes trying to shoot down just that extra little couple of inches you know to get the shot looking better so whatever you gotta do do it and one more quick question from natalia she's wondering um if you have any advice for shooting more mature bride and groom's mature by older mmm well wrinkles are definitely something to be careful about and you don't wantto emphasize their eagles I think ultimately you know one people that are mature no they are so you don't you don't want to make them look not mature as it turned them into a plastic person and take all their wrinkles out which is the best thing to do is tow have the softest light possible because the softer the life the less contrast more harsher the light with the smaller the light more contrast it's going to be in the more it's going to emphasize those wrinkles the softer it is the more it's going to de emphasize those things so shooting in the softest life possible meaning gigantic light sources that are very evenly so like a big window like flying on the wings of giant reflective light light sources or as you're going to see tomorrow using a soft box that's why they call it a soft box because soft light comes out of it so tomorrow we're using that a lot and showing you how doesn't matter who you shoot with that thing it looks like money it's amazing so that's why we use it all the time and I think with older more mature people as well you know then maybe we'll have some flab or you know just different obstacles so even when we're like you know saggy arms his mean so lexa say zach is my saggy are armed woman so you know if I were shooting him what I do instead of having instead of offering it so his arm is in the shot I would frame it so it cuts it off so one it mixes I'm look slimmer and then it's also not showing all of the stuff that she may not necessarily be to fund so it's also like how you put things in the frame and what you intentionally keep out yeah the same thing with bigger broads you know we've been a lot of stuff opposing where you know again the main thing we want to do is always de emphasizing brian we get opposing questions a lot how do you make brides look good the most important thing is make the bride look good if the groom doesn't look is good that's a good I'd rather have the groom not look is good and make sure the bride looks absolutely incredible so the first thing we always do is return the groom a little more straight on which makes him look more masculine he turned the bride which makes her get skinnier and then if she's a bigger bride if she's got a lot of action going on right here that she's not so stoked about one thing you can do a sort of tuck her sorry tucker inside here and look I just eliminated twenty five percent of jody's body by tucking her inside my body now if I shoot from this direction instead of that direction because now she's gonna be the biggest thing in the frame of a shoot from this direction either man and the biggest thing in the frame she gets de emphasized even more and if I shoot from a higher man point she's going to get reduced and reduced and reduced and the longer the lens the more compressed everything is going to get on the net if I mean if you go ahead and add a soft white to that and this is the thing that is gonna look amazing business thing remember to is that you'll take pictures and you've taken that you know at some point your career you've taken a photo of a beautiful model like we have today they look amazing no matter how you shoot and they look awesome and now you're shooting ah forty seven year old guy who's on his second marriage and they're both sixty pounds overweight and have some wrinkles and you're photographing them using all these techniques going it doesn't look like that twenty year old my shot you know and it's not never going to look that way but to down to your clients and that's the best they've ever looked they take pictures like this that their chin down and flashing their face and that's what they think they look like and when you take these pictures of them they're gonna love him we shot a wedding for a couple that was in their mental late sixties mental late sixties we did an album we did all the techniques we shot high you soft light they loved it they thought it was amazing so don't get too stressed out if somebody has a wrinkle on the face

Class Description

Being a successful wedding photographer isn’t just about taking gorgeous shots, it’s about creating an incredible experience for your clients. If a bride feels great about the services you provide—from your first meeting to your wedding day demeanor to the final delivery of the album—then she’ll be a happy customer for life and recommend you to her vast network of friends and family.

Zach and Jody Gray not only produce beautiful photos, they take great pains to ensure that every aspect of the wedding day is well planned and executed. In this weekend course that includes actual shoots of a bride and groom, Zach and Jody cover all the components of wedding photography, everything from marketing your business to finding the perfect lighting sources to posing your subjects to picking the best shots.

By describing their humble beginnings and explaining how their modest start-up grew into a thriving business with clients across the country, Zach and Jody will inspire you to pursue your own wedding photography dreams.

In this class, you’ll learn how to:

  • Establish a strong connection with your clients.

  • Identify the essential gear you’ll need for your shoots.

  • Use light rigs when natural light is unavailable.

  • Understand lighting ratios, strobe lighting, clamshell lighting and more.

  • Figure out which lenses to use for each part of the day.

  • Build up your network and attract more clients.

  • Market your business with your website, sales calls and word of mouth.

  • Review your images and find the best shots.


Reviews