Light Sources

 

Wedding Photography Weekend

 

Lesson Info

Light Sources

now it's like okay we're talking about getting ready the bride you're walking into the church or you're walking into the house or some mansion or some place that the brides getting ready in the morning and we need to find out the best light sources to put that bride and that's critical it was interesting when we came here to the house um we were looking around and I kept looking for the best lighting and craig was like that's really interesting a lot of times you'll see people looking for cool scenes or cool backdrops or cool wall but a wall isn't cool if the light on it is terrible and light isn't it uh brian is never going to look amazing unless she has amazing light on her and when we first started out we saw this video from two thousand for this portrait and wedding photographers name's michelle selling tano and the only time she shoots is when the good light is she searches for great life puts her clients and great light and then let's great things happen in that light and that's ...

what makes her image is so beautiful so we decided very early on we're going to look for great light you might see us sometimes doing this we've learned tow see what good light looks like on our paul of our hand and go oh let's shoot right here you know this is awesome and you're like what that backgrounds ugly I'm like I don't care I'll make a blurry you know you'll do something just wait to see the light on the broad and we say photography is late like we burn that into our brain of photography is like we don't have good lightly don't have a good shot and that's our main focus as you're shooting this to get really good light so the light source is that we're looking for and getting ready is the biggest his window light we're looking for some beautiful window light and some little points of window light that we're looking for is first of all indirectly delight and what we mean by that direct window light is say we had the sun shining through here and you'd be able to see the panes on the floor that's direct sunlight what we have right now is in direct light where you see the light bouncing off the leg and it's just kind of coming and that's indirect when the light and that is what we're looking for because ultimately index through the biggest window possible we could possibly find is going to give us the softest pretty it's light source and that's what we want next thing we want is we want to stay about four to six feet away why well the reason we want to not get too close is because has anybody ever like shot a bride standing like right up against the window and she's got her flowers right here get an exposure on her face and the flowers are pure white blown out completely gone and you're like what the heck it's supposed to be soft pretty light in front of a window right well the closer you are to a light source the faster it gets dark the further you are away from the light source the slower it gets dark so about four to six feet gives you enough to where you're gonna have a beautiful highlight and shadow but it won't be completely blown out completely pitch black plus it gives you enough room to sort of move around them and they're not so close to the window that you're crammed up against them a great trick too is say you're shooting a bride in a room and it looks like a pig's die in there first of all we wanted you our job educating them on the front and hey remember we're gonna be taking photos make sure it's cleaned up she's got like underwear but what you can do is if you put them closer to the window which remember the light is prettier um it's just it gets really bright and then really dark so what's great is as you have a close to the window in the exposure's brighter on your bride the background just kind of gets really dark so that's a kind of trick to turn the background toe looking dark and it just kind of hide so pleasant room can look a little more pleasant but ideally you no way clean up the room if we can get the next one is the height of the window this is actually super critical um the height of the window is going to determine the way that those shadows fall on your client's face and you can't always control this sometimes you walk in their house then you go okay I've got this one though and that one no and both of them aren't that great they're not very you know they're not in the right position or whatever you kind of have to deal with it at that point but if you have an option and you have a window that's in a better position we'd rather take that and the rule of thumb is wherever her eyeballs are you want the center of the window at least that higher higher if possible if that's at the same height or a little bit lower it's not the end of the world but what that's going to do is allow the catch light in her eyes to be slightly above the pupils and the shadows to fall on her face in a way that's done like you would shoot in the studio studio lighting that's exactly how you do studio center of a light source is a little bit above the center of the eyes and that's going to give you gorgeous gorgeous gorgeous light and then the last one is simply the positioning of your bride to that light source we always say put her forty five degrees or less away from the light so if this is my window right here we don't want the bride like this ninety degrees because we're gonna split light or we're gonna have a highlight on this side of her face is going to be completely dark but if she's forty five degrees to that window orm or we're gonna light up her eyes beautifully we're gonna have a nice highlight and shadow side of her face we're in the money and we're gonna talk a little bit about what's called short lighting coming up which is money on any client looks amazing in any time we can get you know a highlight and a shadow creates definition if you have a light source that's coming straight on you can see everything and it's just kind of flat but if you can move the light source or move your subject in relation to the light source whether it be a window you get a nice highlight and shadow area and that looks best on everyone and don't be afraid if you have an amazing bride with amazing scan and she's thin and pretty and maybe she used to model or something you can stick her in front of a window and have light shining straight on her face that's called glamour lighting but they call it remember they call straight on glamour lighting clamor lighting for real because if you're not glamorous don't put it on that client don't look so if you're more of a normal a person like most of us plain right if your client is like most of us and they're normal we want to create a very bright highlight nice shadow side so we have a couple of cushion just what true from ads are you explain again what you're looking for what you're assessing your yeah great question um I think it's something that's more intuitive and but the more that you kind of start referencing what look say you're in a situation and you think there's some good lightness situation you put your client there any photograph a few images and sure enough when you see them oh my gosh this is amazing the light here is beautiful sort of take a look at that light on your hand and try to gauge what it's looking like what I'm trying to do when I look at the light on my hand is you can really see how harsh the shadows are from the wrinkles in my hand are they really really defined shadows are they really soft shadows is there a really soft grady in from highlight to shadow on my hand if there is that means itself like if there's a very very defined highlight and shadow area that means it's very harsh you can also see the angle of the light if I put my hand vertically and all the lightest coming straight down on the top of my hand it's probably not get an angle on him and we're gonna get raccoon eyes but if the lightest sort of falling in this direction hand I know we have a good direction of life sort of that forty five degree light coming in so those are sort of the things I'm looking for how soft and pretty it looks on my hand hard and even at a even more basic level is where's the light coming from I remember were subjects and a friend's workshop and so one of the workshop attendees took us and there's some beautiful light say that's our son right there's some beautiful light coming from the sun if they had turned us into that light it would been perfect but what they did is they put our backs to the light and they shot us this way into our faces were totally shaded so often what we'll do is I'll even hold my hand up and be like oh it's light on this side dark on this side this is where the light's coming in from now I could turn forty five degrees of that light source boom because sometimes it's hard to recognize especially a cloudy day where's the light coming from usually straight down but in certain areas it is getting forced in a different direction so kind of going through it's coming in this way let's turning forty five degrees to it shoot family get amazing photos that quick as you can see right here from uh from the demo image we have our bribed the light sources to her left she's forty five degrees to it you noticed as that nice shadow on highlight side of her face and look at her eyes see the catch light is above the pupil because the light source was above the center of her eyes amazing light awesome yes question from the audience getting ready like why don't we move over here and how do you do that because a lot of times when I shot waiting for you're in a bathroom there's no light and you want to move him over how do you do that I struggle with that at first because I'm like I want to be bossy and I don't want to step in and change what's going on here but the thing to remember is they're entrusting you to get awesome images right they think you are the expert and then when you speak they'll take it as okay so what I'll do is I'll come in the room and you know I'm the expert and I say oh my word we have beautiful light coming here would you mind doing your makeup right by this window sometimes the makeup artist is already set up in the bathroom and nearly sometimes they're brilliant light here shooting a shadow of problems like how about doing your final makeup touch by the windows so we'll educate them and be like oh my gosh this light here is gonna make you look awesome let's step over here when you get in your dress or whatever so what kind of coach them through that yeah we've even done things and actually thes two images are a great example where this was a very small when no it was perfect for sort of lighting her face remember that big in the light source the softer the light and the more of her entire body that's going to be late really well this was a very small window and it was perfect for getting her makeup on easy to move around and all that stuff but then she was going to get a dress on and this room was very cramped and tight so I asked the bride I said hey there's this room over here that hasn't huge beautiful window on this side and a light on you know what window on this side would you mind putting your dress on in that room she was like sure no problem if that's gonna look great and I was like awesome so we moved her into that room and as you can see that almost anybody want to guess is that flashes that a soft boxes that window light did I like this studio because we have these two light sources honor this was just a room in the house that had a big beautiful window to camera left and a smaller more contrast he went out a camera right so I purposely made her turner face to camera left she was going even after I said oh that was great how you were looking to the side do that again she looks beside her sister's butting her dress click when we get these beautiful amazing images just like that and notice she's actually let's straight on but she's turned sideways we still get that highlight and shadow side of the face she looks absolutely amazing in that shop on di angled my camera a little bit so I didn't shoot her straight on I shot her in a very flattering angle okay so light sources that we deal with when we are shooting the getting ready so first of all we have the women window light that we talked about and then we have the ambient room light and what we do is that we turn all the room light the fastest possible that's it's possible and the reason why is light it comes out in different colors so have you ever taken a shot like a reception for example and you have your flashing your camera and flash shoots out kind of no natural daylight light and then you look at your phone in the background looks really orange that's because the lights in the room are often were orange with who knows more orange it's something to know so what we do is when we turn that off the light that we have is only one color light now and we're only having to deal with one light source and obstinate light isn't flattering anyway because it's just coming straight down off the ceiling so we turn it off so I have all the exact like absolutely the last one is no life you ever been in you walk in the bride's getting ready in this dungeon somewhere and it happens and there is some little ambient light may have to have it on because I can't see but it's like dark you know we've been in those situations as well and when that happens that's what we need to get in getting our flash working so jodi and I do a couple of very very simple things of course tomorrow we're gonna talk a lot about flash stuff we're gonna talk a lot about off camera lining on camera lighting all that stuff but the basic thing that we do when we're shooting getting ready and this is a getting ready what is that my wife took for bride she was getting ready there was some light in the room from window and you can actually see there's sort of a rim of light to camera left there around her face that was from a window behind her but it wasn't enough to light her entire face well so what we typically tend to do is whichever and this is actually very easy thing to remember to dio shooting on all manual which we'll get into that talking more about that but you know your bounce flash swivels around and we want to make sure that that light comes back the same way we want the window like to come back above the center of the eyes and from one side to the other side forty five degrees is always the best and the best way to know where the point it is if she's looking to camera right now she's looking a camera left point your flash to camera left cause you're gonna light the least amount of her face and you're gonna have a shadow on the brought a side of her face that's called short lighting so when jodie did was she turner flash forty five degrees to her left and the camera left had the exposure set took a shot flash filled in and when we get this beautiful let shot of the bride getting ready so very very simple and easy to do we also will do that sometimes of guys this is actually a flash shot believe it or not we had some beautiful window light but the problem was it was the window was so low it was kind of lighting him from like the neck down so I turned on the flash and filled in with flash coming in at that angle until what brighten up enough until I can balance those two light sources so this is done with very very little ambient light yes questionnaire here flash is pointing that way in this case the flash was pointing that way but because my wallace so far away it sort of lit up his entire face let everything up so we don't get a lot of highlight and shadow we didn't need it because he was good looking skinny guy it wasn't gonna make him look bad

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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