Wedding Photography Weekend

Lesson 26 of 49

Hands On Student Shooting

 

Wedding Photography Weekend

Lesson 26 of 49

Hands On Student Shooting

 

Lesson Info

Hands On Student Shooting

so we're gonna have samantha now she is going to do a shot on our own we're goingto kind of coach you through it help her set it up and she's going to take the next image right over here in this cool little texture a spot back here using that seventy percent method of the flash so when we do our light workshops this is exactly the reason that you're about to see of why we limit the attendees so now that we're here now we go when we were still like learning like got to mix now we go one by one and walk each student through actually doing the process because it's cool to hear about it but there's something about I'm visual and I need to do you know so many of us are like that we actually need to do it so I am the visual learner I need to do it and so that's what we do at our workshop because we actually walk each person through step by step so you actually get to do it yourself let's see how good samantha can I talk yes ten we're allowed to talk you're it so we're going to give her the t...

rigger so she's just gonna slide this under camera the good thing to remember is that there's ever controls on a trigger they're probably going to face you when you slide it on because some people put him on backwards and they could never get him off and sometimes they're a little tough to push on no problem so all you have to do is slide on its ready to shoot so the first thing we knew you could just kind of keep your hand can't camera hanging there so what kind of lighting style do you want to do do you wanna like them straight on from the side or super side to make it more dramatic there's no right or wrong answer okay all right we're gonna do the super sides of forty five degree lighting okay so we got a forty five degree lightem so we're gonna have samantha come over and just take a look and make sure uh stacey's got it in the right position so she's gonna bring it up just above chin height and move this way just a little so it's not the tricky thing and this is something good to remember when you're doing forty five degree lighting on two people the thing you want to be careful we don't wantto have her face cast a shadow on him right here because that's gonna be very unpleasant so usually if we're doing forty five degree lighting will having you move back a little more and have you moved out just a just a scootch do we make sure the light hits them both does not make sense okay so light looks great forty five degree lit and how close do we want the soft box and you guys can china closest possible out of being in the shot so go ahead and frame them up how you kind of want to shoot them let's take a look at that let's say you want to get in I don't know how close you want to be like okay so waste up kind of like that very cool but now we got like sun coming out all of a sudden totally ruining our shot it looks fine it's gonna go on go away in a second so we have to worry about that and what we would do in this situation so say we're framing up the shop just like we are now it's a wedding day we had a perfectly set up on all the sudden the sun pops and one we can eat their weight or two we can get our big diffuser that we have and defuse the sunlight hitting them so we can do the shot that we're intent first intending to do so the sun's about to go away and now it's raining a little bit okay so you like that where you're framed up so do you see the soft box in your shop now so let's move the soft box closer how about now no okay so that's plenty close so we're very very close to the writing room well within about four feet of two of them I'm gonna give you the meter all right so what's the first thing that you want to set in the meter yeah what do you want to put that s o to hold it push it so you hold down there so one with it and then turn that dial and you go there you go to one hundred perfect now you want the shutter speed to yeah so you just turn it my itself go to one hundred perfect and I know says you for error because there's no light for teresa all you have to do is press this button on the side it's gonna reset to zero now you're going to set it right here make sure you're not in the way of the ambien or the flash don't wanna block the flash with your blocking us to come to my side and do it right here so go ahead and put it right there I'm gonna trigger it for you if I can't what do you got percentagewise eleven seventy so she's at eleven and it says seventy percent that was just pure luck that it went right to seventy percent on the first shot too easy so let's actually go a little bit brighter with a stroke so we're gonna go up one click and normally if we're on a windy day like this we probably get on a light stand instead of holding our mono pod because that could be a little squirrely we're gonna go up one click just to make sure we've got plenty of dark in the background that we can sort of financial and by god one click you meeting we powered up this the soft box a little bit more because what we want to do already at seventy percent we kind of wanted to work for it a little bit so we're going to go to eighty percent so if we want to go to eighty percent we need to power up the light so are powering up the light and now we're gonna meet her wait a second the sun just came out that that's about to go back behind the clouds that's gonna mess up our ambient exposure so we don't want the ambient completely messed up so let's wait now let's take a question while we're waiting for that light to god so lots of folks have been asking about this mono pod that the assistant is using and what that is and if you didn't have the person would you use a light stand with bags on them yeah yeah we simply just turn it out of the way we used to use just a light stand all the time a simple mid mid weight light stand and then you can if you're on your own you can just set it up sometimes you gotta put your foot on it because as you can see it's pretty windy out here we're right on the ocean and a soon as you put up any kind of modifier a soft box beauty dish you name it a reflector it's gonna act like a sail in the wind and we're pointing it into the wind right now which is obviously very difficult to do um so yeah the model pods great because it's just easy to maneuver like it's easy to put move from position to position that's why I like you oh I don't even know bogans a bogan everyone always wants to know any model pot on the planet it will be fine it just needs to be more than five feet long and make sure that the top of it plugs into the back of your life but usually a five eighths adapter at the top is about the right size yes so you're going away wait we're gonna go and do this shot little compact confessions and it is cold trigger it again we're gonna fire this off what do you got okay we're at eighty percent f eleven so go ahead set your cameras to the exact same settings so I s a one hundred eleven and one one hundredth of a second perfect and go off a burst mode if you can so now we've set our camera for a four to one lighting ratio seventy percent is a three to one eighty percent is a more four to one so it's going to be a little more drama so go ahead and take a shot and usually when we're shooting right now we're sort of in the shade shooting into the shade seventy percent tends to look the best cause we want texture in the background light a little higher there you go so she's going to go ahead and line it up take a shot that she did completely on her own and I guarantee it's gonna be rock star awesome how's it look freaking uh amazing so let's come in a little closer for a tighter one and maybe give us a horizontal shot a little bit closer and we're walking over the monitor because we're all kind of looking anxiously wanting to see the monitor and here comes the next shot up for everybody and as you know what that looks like butter like absolutely amazing look at how easy dallas or go ahead now and speed your shutter speed up to two hundred and now we're going to take that background to make it twice as dark and get in real close to something some of them what you did last time horizontal remember how we talked weekend either dark in or shot or brighton are shot just by changing our shuter street so that's exactly what we're having something to do with having your speeder shutter speed up to two hundred one two hundredth of a second so you can see the difference it makes in the ambient light who's so now we've got this really mimoun drama dramatic shot coming through as you'll see in a second and now slowed down the fiftieth of a second and that's going to make it actually three times brighter then it wass just now so go ahead and do that now as you can see we have tons of bright background and any time I'm looking at my shots I'm going to go into the info mode so I can watch my history graham and right here you can see there's plenty of detail shadow if you scroll back one notice how we have lots of dark dark area but not overly dark where you're not going to see anything so really cool is everybody like holy crap that was easy right you get a really nice soft box cool light meter it make sure it's at seventy percent shooting in a very similar lit area and we get that that quick and that easy looking how beautiful the light on their faces we've got this beautiful light in the eyes they look super dramatic they look awesome you guys are freaking rock stars are a piece of cake and so you can see it and well maybe even bring the images up again or put them on our facebook page later but just by changing again the shutter speed you can really quickly adjust with the indian like does your shot and get a totally different look awesome job easy yeah were you worried about your weight ping follows sets do have a couple questions way dio folks are a lot of folks are saying that they don't have the octo octo bank right now but could you do the same thing could you get the same effect with a speed light an umbrella yes uh you know you're going to get different you hear a lot of especially lighting ice talk about quality of light and quality of light simply means when the light comes out of the front of that modifier whether it's a small umbrella through a five eighty uh pop up soft box from westcott where you can put a five eighty inside and uh it's like a little soft box that's an umbrella or whether it's a very ex this is actually pretty expensive light that rhoda look soft box or a westcott twenty four by thirty two which is about one hundred seventy dollars there's about three hundred forty dollar light right here just the soft box um all of those air going to produce a similar effect that differences when the light from the source meaning you're five eighty or your uh alien be or uh your ellen chrome light when the light coming out of that source hits the front of that box is it super even and coming out at the exact same exposure all around the front of the box and the difference between a fifty dollars soft box and a three hundred fifty dollars one is when the light comes out of the front of that it's hitting incredibly evenly which mean that super big and super soft and super pretty cheaper soft boxes or small five eighty shooting into an umbrella you're going to get a much softer light source but it's gonna be about probably hotter and brighter in the center for the most part and it's not gonna look that beautiful not if I could be wrong depending on the light and I mean shot with every single light source but you're always looking for a light that when it hits the front of that box is very even and companies will talk about that we have a point three stop difference between any area the front of the box what that means is it's coming out incredibly evenly if the centre is f ate and the sides are f or what it comes out the front you're gonna have a hot spot in the center it's gonna be more speculum and it's not gonna be as beautiful and another thing to think about is the five eighty little flashes they can't pump out enough wattage of that these lights can so the only time that you can really get a cool look like that is on cloudy overcast days or as the sun is setting down if you come out with a five eighty at high noon and trying to overpower the sun and get this guy's it's just not gonna happen because it doesn't have enough juice to do that hey stacy what was our power setting just now we were shooting in a pretty dark day today cloudy and it's kind of a shady area into the shade and we're at three hundred twenty five watt seconds to get that shot so if you're used as an example like a five eighty ex delivers about ninety wants seconds of power not enough so this is three and a half times are over three times the power to get that shot just now so having enough power is really crucial next question next to another shot do you have any other suggestions for similar lighting conditions with natural light where you aren't using a strobe to make that natural color pop a little bit more uh this faras like especially sky shots pretty much next to impossible to get as you saw the before and after what we just did you go in and dodging burn and try to make the sky look that way but it will never look that beautifully natural as it did with adding that light to tone down the sky the only thing you can really do is like on a sunny day turned someone's face directly into the sun which means the sun is lighting their face and it's also lighting the sky and you can balance the exposure's that's pretty much the only way to do it then people will throw on like different filters that help make the sky look bluer but then you have this very contrast the light hitting your client as well so this is the easiest most efficient and least amount of post production way to do it um other than that it's very very difficult next to impossible to get that kind of look like the first shot we did without having a stroke it's almost impossible so I think just a follow up on that willie h had asked can you use a polarising disc instead of the neutral density yeah polarizer is basically going to make uh the sky came down just a little bit um and I do sort of the same effect and post production where I just pull up the blue channel about fifteen percent um and what makes the sky a little more a little more blue so a polarizer does help a little bit but the trick is sometimes polarizer is they have like it's just for the sky so the sky gets a little darker and that it's not for your client at the bottom and that just gets tricky to try toe toe make that work correctly so I don't use any paula reiser's of any kind just because they're a little a little finicky especially on wedding day

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.


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