Wedding Photography Weekend

Lesson 7 of 49

Ceremony Gear


Wedding Photography Weekend

Lesson 7 of 49

Ceremony Gear


Lesson Info

Ceremony Gear

so then we now wanna hit on the ceremony and the gear that we use and how we utilize that gear so essentially for the ceremony we love the sixteen to thirty five and just to give you a glimpse of how zach and I shoot that is often times I am in ill that is kind of my rule I am getting everyone spaces as they're walking down the aisle and then zac depending on the church restrictions will either be up the sides or in the balcony but his main goal is to get the groom's face when he sees the bright so that's his primary focus and then throughout the ceremony would just kind of around shooting what's going on and what not so um and then for the processional I'm back in the aisle shooting is that we both shoot the processional the same time trying to get an amazing expression on the bride and groom space yeah and then one of us will stick with the writing groom is they're celebrating outside and the other will continue to get those shots so this is an example of using the sixteen to thirty ...

five millimeter lens we love getting a really live shot showing the whole yeah it's great to capture kind of that whole venue in a nutshell so we just grab three or four shots of that really fast um then we'll jody will use the twenty four to seventy quite a bit and this is great because as she mentioned here she is halfway down the aisle stephen and scarlets wedding at their home she's katherine this beautiful wide shot with the sun flaring through in a second later she can zoom in and capture this great look that she's giving her mom you know two seconds later um same thing here being able to zoom in really close capture the father walking with her daughter and capture their hands kind of inter inter class and then once they passed me I want to get a shot of her and her dad walking out the ill so I'll get a closer shot with me the seventy millimeters or sixty millimeters and then I'll zoom back out twenty four to get a wide shot of what's going on we also use the eighty five l during ceremonies that course again one of my favorite lenses um and as you can see here we're using it this is me jody's usually crouched down low capturing that wide shot with the twenty four to seventy and I'm standing up tall trying to shoot him between the bride and groom especially for natural at ceremonies like this and trying to capture his face looking and I love this shot of the dad looking at his daughter your room looking at the two of them especially at the bride just credible capture and then here again you know zooming in with eighty five and capturing these tender little moments that happened during the ceremony and it's really important we try not to overshoot that's something they're really keeping mine a lot of time with this but we're really spending a lot of time looking through that lens waiting for these moments and preempting them shooting a few before during and after but not just firing away for not for the sake of shooting more pictures so then we have our seventy two hundred millimetres big you know which I love and we should almost call it like the creeper linds because that's the lens you kind of creep in and get really tight but as we talked about you can also get cem wider pictures like that you just have to be further away in orderto capture that it's also a great lenses sheet from the balcony with if we're ever stuck up in a balcony um we can zoom out to seventy millimeters like this and capture a lot of those things and then we can also zoom in very tight and captured great expressions you know this is from fifty feet away we can capture a beautiful image like that and then also images like this you know where we're stuck really far away but as you can see by the blurred background we were zoomed into two hundred millimeters and then we're also paying attention to the story of what going on around us oftentimes they're so many great reactions happening from the parents from the grand parent in this case and so if we can get up to this side's whether it be in a church and a factory outside whatever sometimes will creep up and then look back at the audience and shoot some of those people joining I wear little radios with like cool secret service had pieces and if you click on and they make a little noise so when you hear that clicking we know to look at each other and some I think this image jodi said look at grandpa the bride had just walked by and he just started bawling so I hand over and grabbed the shot of grandpa was horrible lighting really bad backlit but beautiful well image with the story that it's telling about how he feels about his granddaughter then the seventy two hundred again right here capturing the bridegroom walking back great expressions on their face and this is the time when things were happening fast that you're shooting fast because those moments are happening really really quickly and this was the one great image that I felt it was super strong of them walking back down the aisle because the video guy stepped in front of me and actually if you could see him partly on the right and then there was a tree to my left and I'm shooting right in between capture in this little vignette of the two of them there's almost just a lucky shot and then the same thing here with the seventy two hundred this is a lot off camera flash but capturing this great moment that a friend of theirs is videotaping with this computer and as he walked by he'd give a thumbs up to the video camera and we get this great expression of the bride and groom just really enjoying their day and has no moral rule of thumb we uh ninety nine point nine percent of the time is not do not use flash during a ceremony um we don't want to be a hindrance we don't want to be obnoxious and the only time that we will bust out a flash is sometimes during the processional or recessional if it's absolutely pitch black and there's nothing that we could do it natural late but never during the ceremony especially all right so we're gonna get it yeah question from somewhere so that was really cool how you kind of describe the dance that you two you yeah I would imagine that having that your pieces that big part of what helps you and so people don't have that are kind of and the video person what's what are your recommendations for that that whole dance not getting in each other's shots yeah I think when you just yeah way shot every wedding together so that helps you know we know the drill and before the ceremony we always do a power about ten minutes before the ceremony jodi and I go okay what's unique to this situation how can we not get in each other's way okay you're going to be here I'm gonna catch in this it looks like mom's coming around this way so we know where to be and then we always chat with the video guys you want to be f but the bit with video guys going hey we're super stoked to be working with you I want to get this shot what do you think we can do to work together for this they're like well if I work with may be surprised how much bill actually get out of your way if you just are really cool with him and then everybody is happy everybody gets a great shot and we worked at video cats that are doing the old school shoulder nothing two guys doing steady cams on their chest I mean full on so and we've worked well together with all of them you just gotto talk with them a lot to ask and then bye bye ahead said if you work with someone else because it's it's a vital but it's definitely great and so there are a lot of people in the in the chat room asking about what brand of headpiece to use yeah there it is the brain the radios that we have our midland midland radios and it's a midland headpiece that goes with it and if you just google secret service head piece from radio's there the clear ones and they have a little lapel clicker or uh shoulder whatever this what's this party about nicole you know what this is called what this is your so just it's ah secret service head piece made they come up real fast and they're awesome and they sound really good and they're actually pretty discreet people don't notice him much we've tried different kinds like that over the year with the mouth you're shooting get like our boys we try and local really cool so yeah so secret service your pieces on the question author another one out there or is there a hardest part two shooting wedding something like a situation during the ceremony that um that you worry about that you have to work extra hard and communicating I think definitely when I can think of off the top of my head is the hole we're the audience sits the congregation whatever you wanna call them where they sit oftentimes there's just kind of like a light lighting to them ambient room light and then the stage they have the hot lights shining on it and so when you set your exposure for the congregation that's blown out and then if you set your exposure for the altar then the room is really dark and so how do you balance that if we catch that early enough we've actually we will go to the pastor the minister or someone in charge of the church and be like would it be possible just to turn those lights down a little bit you know they've done that for us balancing out those light source I think the hardest thing about shooting weddings especially the candid moments is speed at which they're happening and trying to capture of quality shot capture the content and make sure it's in focus all the same time I think that's one of the hardest parts and that just you can watch as many videos as you want you just have to do it to actually get good at it

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.