Wedding Photography Weekend

Lesson 24/49 - Lighting Q&A

 

Wedding Photography Weekend

 

Lesson Info

Lighting Q&A

all right questions do it so don't start in the audience how your brain's doing there alone so excited this is such great information and its explains so like even though it's a lot it's explained very matter of fact and I'm a very visual person and I don't care for math very much so toe haven't explained this way that's practical and because I love shooting the strobes and doing those dramatic images but it's been so much time rearranging it you know when I look unprofessional doing it so doing hearing all of this and just I'm gonna go back and watch this again and again and again and I suggest everybody does that and you know that's something that you mentioned to is like we often feels even as we're working through this that we feel we're professional were being unprofessional about it and it's like and then your confidence starts to sink is you keep trying to take shots like but having a system is super help awful and then for those of you who are like well I want to start incorpor...

ating this into my weddings so I think the best suggestions that we can have is how we did it and you do your own ways we have the strobes set up ready to go and then we bring it out for one shot you know it's like we're slowly building up our confidence with it so it's not like all right we're gonna do it for fifty percent of the day just there all trying that's letting so we just brought it out a little part of a wedding and so we can slowly build our confidence with that and then sometimes even today sometimes things don't work like it doesn't fire off and you're so you have to check the triggers and whatever but the thing is is the client doesn't know how long or how short the process should take so when we go out there and it's not firing take a shine like oh that's also just gonna take it do things just look so great guys gonna love us and reality was like black on the back of your hand so it goes all backs like what we're talking about the very beginning of yesterday giving your client a great experience in making and feel confident with your presence there so if you start toe share those in securities with them then they'll start to be like feel insecure shot two so even if it's crapping your feeling really defeated as you're slowly starting to work it in then even still be like this is great and and even if even if that like maybe that's too much do you have an engagement such yes like take it out and go hey I'm doing this I'm doing this cool new light thing and we're just gonna do a shot with it I'll never be like all cool and then you have a little leeway to like kind of fool with it set it up bringing assistant a lot of times on my jody hop in their photograph and make sure it's working correctly or photograph your assistant really quick and use them as a prop and then all you have to do hey you guys stand right here look this way do this click click that's awesome if it's not perfect who cares you can learn as ugo and just so slowly incorporated that way uh carla from brazil is wondering how do you manage to get great exposure like that during the ceremonies that happened outdoors especially when it's sunny so when you don't have much time tio and close with that light right so with ceremonies were never using flash of any kind we are always doing actually whether it's really dark inside of the ceremony or it's really bright outside we work with the bridegroom very closely so that they make sure to schedule their ceremony in good light so and that's something that will talk about tomorrow how he hit them up on the front end with that information so so it ensures that we're not shooting their ceremony at a time where it's like harsh light and shadows or it's the worst kind of lighting yeah we shot a wedding for uh this amazing wedding in two thousand ten it was a big wedding we knew there was a chance I might get a huge publication which it did it end up being in people magazine and I was like we cannot and I knew they were going to use the moments of the day not our rock star cools lit shots they're going to use the dad walking the bride down the aisle those are the kind of shot that air going in those magazines so we walked out there the day before to see where the sun was setting causes an outdoor ceremony in there in her dad's yard and we were like you know the ceremony time needs to be just a this time and literally five minutes before she walked down the aisle the sun was still doing that like hot spot thing and all the sudden because we had timed it with them and work to the coordinator worked with the couple it literally went into like gorgeous light time it was like unprecedented beautiful light and she comes walking out with her dad and that image I captured this image of her coming out that's like a full page spread and people magazine thank goodness we if she came out direct sun they probably still want to use that and I would have been like cringing because that was the best we could have done or I would have liked to send it off to photoshopped camp and have somebody fix it you know but luckily because we work with them thanks jody you know all the stuff she does behind the scene before the wedding we were able to get that beautiful light to get those images so if you are sucking those horrible situations so you have wedding slated already and it's going to get the worst time of the day we get our exposure set beforehand and then we kind of stick to that side because so for example you have your bride and groom and all the people watching them to say the sun's like shining this way so it's hitting the bride's face and the groom spaces and shadows so beforehand we set our exposure for when we're shooting this side when the sun setting everything and then we also know our exposure when we were shooting this side when the shade is hitting everything we don't want to rely on the camera because remember when the camera is on auto it just it sees dark seas brights and either over explosives are under exposes so we figure out our exposures beforehand for both settle a situation so when one's on this side we know what our exposure is once the other side we know what that exposure is great a question from jeremy graph when you position the flash behind your subject like you showed us do you have the flash zoomed in or out wide the setting on leave it's just how it comes out of the box which is just zoomed out all the way I think twenty four millimeters zoomed in it technically I guess somehow focuses the light a little bit more but I leave it just sort of shoots light everywhere spreads out sometimes I pull down that little wide angle panel which all that does this sort of help the light slightly spread out a little bit more but yeah we just leave it leave it zoomed out all the way which is how it comes out of the box I believe speaking of light most south asian weddings are done after eight pm how would you deal with that kind of life and that question is coming from nam uh nam z says it's a ceremony or portraits wedding I think probably the ceremony yeah well I would try to get them tio see each other before the wedding if they do that but that may be very taboo you know like depending on the culture so that's where again being proficient at flash is huge you know we shot jody and I we want shot away and you saw the bride on the rooftop with the nashville skyline of batman building the background for the glamour lit example she had a short dress you know that brian her wedding was on a rooftop at night candle lit only and we were going and they wanna see each other but they don't want to see each other before him so they were like can you their biggest concern was can you do that and I was like of course we can you know what I'm thinking here is our first year we've been shooting professional for like six four months when I met them in their wedding was nine months after he started shooting so I was like oh boy how are we going to do this and I'm thinking like all these strobes I'm going to set up during the ceremony to capture images that a friend of mine who's a amazing photographer if you want to see some of the best photo journalism on the planet check out evan baines b a I n e s dot com he is a freak of nature photographer just incredible and evan was like dude you can't shoot flash during the ceremony because it's candle lit it needs to look candle lit so we're like okay and that was back when we had thirty twenty thirty fees so we put fifty millimeter one four lenses on shot at one four one thirty some second at s o thirty two hundred which is the max that those cameras went to back then and that was the exposure to get everything one third to right which is exactly what you want when you shoot high so a little bit too bright because the noises in the shadows so we literally where I remember pre focusing shot she's gonna walk by this little light that's kind of sitting on the edge of the rooftop and it's going to hit her face at one point pretty focusing and as it got got to that shot click getting the image and my friend and then shot that wedding with us and I remember him taking a candid at thirtieth of a second of the brides walking click wasn't he like doing gun style like sniper style he was in the army saying got us you know a camera like this and we shot the whole thing just like that and they loved it the lighting wasn't like that you know a lot of it was coming from underneath but had that beautiful ambience and you look to the ceremony that they wanted we just shot up that way and made it happen you know talk about trouble focus thank you god for ceremony getting lenses reeking go to those low apertures and then also camera bodies were now you can shoot a lot higher eso super helpful and then also fear in a ceremony in a like indoors you speak with the church lady speak with the minister remember that you can speak teo say hey can we turn the lights up just a little bit and then when it comes to doing portrait's afterwards having your portable window is magic and then you could go any way hotel anywhere in the ceremony area and rock those out okay a question from t deborah kn uh what is the threshold for needing mon alights where's the speed lights or how do you know how many what seconds you need yeah kind of for us a minimum is what we're using which is the allen crum four hundred watts I used to always say five hundred was my minute moment because that gives you enough power to overpower the sun at high noon threw a double diffused soft box this one from west got at about four to six feet away what I could do with the ellen chrome is from about four to five feet away through a double dip he's off box I can get f eleven and is a fifty which is the exact brightness of the sky for it is a one hundred f sixteen that's exactly how bright it is so if I go from a hundred of us hundredth of a second of two hundred I cannot darken the sky by one stop but I have to be fairly close any other time of the day I contain this guy really easily and hopefully we've done a good job we're not shooting pork it's at high noon we want to try to avoid that so for four to five hundred watt seconds is minimum don't get blue sky blue skies and einstein what's the einstein by einstein's six hundred forty one that's plenty about we use that when we did a workshop in the desert in vegas last year doing lighting stuff when we live like this whole car you know we did this crazy stuff we used the einstein because I had a little extra juice and man oh my gosh that is a great price point two yeah cheap next question there are a lot of questions right now in the chat room regarding traveling with geert how much do you carry how do you manage it while traveling on location yeah great question so journey and I travel pretty light actually I think a lot of people like how do you carry all this gear so we bring the wedding's gonna grab my camera bag because we have a kind of put it right there so the camera can see it way have our camera bag this has all of our lenses all of our accessories and all of our small flashes like this in it and then we simply have one case we don't have it with us but it's a suitcase it's almost like a briefcase on hard briefcase it's about this big literally and it's got uh ellen crone it's got to back up batteries and to flash heads and two cables and that and then we just have one soft box and one small stand like this and that's all we bring the wedding so it took a lot of photographers shoot all natural and just use five eighties would just have that we have that plus another small bag that weighs about call pounds and that's it so we carrying both of those on and when we get to a wedding we set up the soft box we attach everything together we have an assistant everywhere we go no matter what even if we have to pay for one a lot times you can get one for free she holds the light sam she's so she's our human light stand all day with flash and she kind of rolls are camera bag around for us and we're ready to rock so that's really the only major difference accessories between us and a lot of photographers is not one big off camera flash in this way we carry on the planet this yeah we carry everything question from terra spencer would you choose a portable flash over and awesome lens if I if I had enough lenses to shoot and I didn't have a flash get flash if that's the question for sure because if you don't have a flash and you're in a situation where there's no light your you're not gonna photograph anything so yes if but if it was one of the other I wouldn't shooting way because we talked about that a little bit yesterday about how important it is to have enough equipment and a backup equipment to take your taking a major risk when you shoot a wedding you know if you don't have a million dollar liability policy I wouldn't shoot a wedding I wouldn't step foot into a wedding because anybody can see you for any time for anything and they may will they may very well do that to you um out of no fault of your own you may be the best person on the planet but you may show up you don't have a backup camera camera broke you weren't able to photograph half a day and now amazing bride turns into your worst nightmare because you didn't capture her wedding day and you can never get it back so I think it's very very critical to make sure you have enough gear enough equipment and enough since you know toe to take that risk so so definitely a flash if you have a lens or two to cover the rest that it's so hard to have a light source of what if you get stuck in a horrible situation yes they always come up with uh sharp snap photography is wondering in regards to the speed lights when you place them behind a subject do said the speed like to slave the speed light is being triggered by our cyber sex so we don't have it on any kind of optical slave mode or any infrared because that stuff is very inaccurate doesn't work very well we simply have uh as you can see right here I actually pulled us apart like us you can see what I have going on here we have the four thirty x two we use the five eighty exits not this the new ones um so what we do is we have down here I've got a hot shoe adapter which simply plugs into the bottom of this bad boy which allows me to plug cable basically into this so it can receive a signal from this cable and the newer ones use of five eighty ex too you don't need this you can simply plug this cable into the side of flash so then I have my receiver this is the cyber sink the csb this is the receiver csb means cyber secrecy or c s r b sorry cyber sink receiver battery power well crawled out to the side or no if you have velcro all over these things stick it to the side of the top and then we simply plug this cable in and this is a radio transmitter which means when I fire it for my camera it's going to receive the signal send it in here and fire this off every single time that's why I use this because it works consistently and always fires for me every single time so that's how we fire off and then it sits on the stand like that we have the little guy and our camera and then we have the little transmitter sitting on the camera and that's going to fire off our main flashing in this background clash at the same times we just screw that in and boom we're ready to go so that as you can see if I turn it on and it powers up which it may or may not do and it's supposed to fire it oh battery's taken out awkward pause everybody talk amongst yourselves okay awesome at this point is supposed to fire me for some reason there we go so you can see firing at you yeah like that don't you see my face somebody then we're ready to rock so that's how we do that cool and you're powering the speed light just with batteries just the double a's that go inside of it those usually last way don't use rechargeable we used to and then a friend of mine I was like man those things are paying because they lose their charge after about a week you got a charging up the night before and there's just too much work so we just buy brand new duracell's that duracell's over energizer seem to work awesome and I usually put one set of batteries in these and they last almost the entire night so we go to costco any kind of bulk up welcome on batteries and we just throwing brand get it just works so much better cool thing about questions question from yes is how do you use the light meter when taking a bridal group shot against the sky so full group shot great great question so for shooting with that bright sky depending on the situation I'll go ahead and meet in the sky with the camera like we talked about whatever the meter reading comes out to in my camera meter on my camera that tells me on one stop under exposed I then start powering up the flash and take meter readings with the meter until that those exposures match the camera matches the meter so we sort of do the reverse what we did earlier or I can simply keep powering my flash up until my meter reads eighty or ninety percent I know I've got a lot of power coming from the stroke came down the sky when zack says one stop under exposed what we mean is we're pointing a camera to the sky and were manually adjusting our aperture so we have our eyes about one hundred we have a shutter speed at one hundred and were manually justin are aperture until the camera meter you know the thing that's in your camera until it moves down three low lines two minus one is one exactly the reason we do minus one is because we want her background a little bit darker than our subjects perfect good explanation jamie grief is wondering if there is a reason you don't use the radio coppers to achieve a shallow depth of field with high speed sync while using off camera flash opposed to the nd filters awesome question awesome question I have heard recently that you can shoot on manual with e t t l technology details moving on a mode which means elektronik through the lens um dtl is what happens if you take your flash stick it on top of your camera and turn it on auto attorney camera on manual or auto doesn't matter and you take an image what happens is the flash fires out a pre flash really quick a lot of people realise that happens it fires off a pre flash it bounces into the lands and the cameron determines how bright this flashes and then a second later or split second later it fires off a power full power flash that it it thinks is going to expose whatever you're taking a picture of correctly the problem of the ptl is the camera's again thinking you can even have your camera on manual but the flash power is coming out determined on what the camera thinks that correct power should be so e t t l is horrifyingly awful because it's incorrect because it's using the camera meeting if I pointed at a dark room in a dark tux and I point my flash at it what happens it gets over exposed it goes like you know you know that noise that you can't do that again e if I pointed out a white bride in a white dress and a white background I get an underexposed flash again we're having inconsistency now because the camera the flashes now thinking for itself right so the tl using it on auto is very inconsistent and a lot of people say well it's close a lot of the time a lot of times not good enough because if half of my shots correct and half art that means I have to individually adjust half of my images from an entire wedding that's hundreds or thousands depending on how many improved to a client and that's that's not worth my time I can't afford to do that and run a business that actually makes money but I have heard that you can shoot on manual mode now but every time I've used e t t l technology and what detail allows you to do is basically go to a very high shutter speed and high speed sync so you can go to high shutter speed and it mathematically makes those flashes fit together what it actually does a shoot I think a bunch of bursts of flash and then I kind of sinks them into one image which is interesting and then you can open up your aperture instead of being an f eleven you can shoot it up too and then get a great exposure and use a low powered flash at the same time but I have yet to see it actually function correctly I've not seen we bought the pocket wizard tt want and whatever the other one was called on my hundred seven hundred dollars for these three little triggers and they were the biggest disaster actually who ruined some shots at a wedding for us it was when they first came out and then I called pocket wizard and they said oh what you need to do is actually put a sock over it so it doesn't interfere and I was like I'm gonna put socks on flash is actually a just um you know you know this is like this is really all life I'm shooting a wedding here I need this to work don't updates and what that sure I'm I'm sure they're half is awesome after they were before and then radio papa I've heard a lot better things about you know they definitely have a better technology going but as far as I've heard when that flash goes off in those bursts you're actually catching a ghost ing effect you're not catching a full power of the flash and I could be wrong and I love you know pocket wizard hop on or somebody to go this is actually how it works but I've never seen it function consistently and when I go out and shoot my flash it works every time and I press one button and I can end it fifty photos in five seconds and I've never seen that with any t so if they can do that I think it's great and if it works consistently for you use it but I haven't really gotten into it and seen it work so well I'm sure there are people in the chat room talking about how your way so a question just a little question from gen bruce do you keep that orange gel on most of the time on your speed a lot of times for background light because it adds a lot of cool texture color and I like it you know if you don't like it you can take it off we can put blew it on there or just shoot it regular but regular is just gonna be white light coming back on camera with it on it this is actually a half cto it's called um which cto is just the color of you know orange light thirty two hundred taliban this is sort of half that so it's not super orange but it's not not that orange is kind of in the middle and you just buy this in a sheet from like being age and you can't you get a big sheet like this and we just cut pieces out of it a little pieces of velcro wanna stick it on here if you use nikon it comes with ease a little gel pack goes on and on oh another really cool thing there's a company out there expo imaging expert does actually sell a little filter filter kit that uses some rubbery stuff goes around here and you have like all these different colored filters that you can stick on your flashes for different effects so really cool so when we're using that as a background like we love having an orange and then you know our white bounds at that point is flash that flashing cameras that makes our light look more orange when we're shooting receptions we'll have the orange gela most often all of the time and our white balance actually goes tung stone because what we're doing is and we talked about this yesterday so then we'll talk about it do you want to touch on s o the room lights you know are very orange and if you've ever taken a shot with your flash in reception and that your a person looks really great but in the background literally orangey and so sometimes it's really hard to balance that light like later in post if you like we'll it's too orangey and it's changing things so what we do is we match the orange color that's in the background so that's why you put the orange gel in our cameras we said a white bounce too tungsten to tell her camera hey we're shooting in this color light and then it neutralizes everything um on twitter have you ever shot a couple of darker skin color and is it hard to balance the dark skin with a white dress the question yeah it's definitely a good question on a lot of people struggle with that we shot a wedding a couple of years ago for uh bridegroom who are black and he had he was actually very very dark he's a professional football player but he had like extra dark skin and she had more fair skin of course she's gonna wear a white dress in there first question the parents came to the meeting and they said can you photograph black people that's exactly what they said to us and I was like yes because light is light and a correct exposures a correct exposure no matter what so a lot of people like well what do you mean by that because it in camera meter when I pointed out something that's very dark it tries to tell me to shoot at a brighter exposure right but we use an incident light meter like this f ate is that fate the exposure that's coming out of that right there is the exposure that's coming out of that right there it's not hitting our darker groom any differently than it's heading right right someone who's dark is supposed to be darker they reflect less light so they're supposed to not be is bright so if you know how to take a correct exposure or if you did what we did yesterday you used the expo disk and you get it you know how much lights actually coming into the scene when you take a correct exposure they will look the way they're supposed to you at the same time there are some exceptions when sometimes people are very very dark you can you lose a little detail in them and then sometimes you do need to bump your exposure by maybe one third but that's about it so we shot that entire wedding I did a slight bump just for him about one third but other than that white is light so you don't really have to make adjustments if you know how bright that light actually and you know that's when you run in the problem again when you're shooting on auto mode and your camera sees like the dark skin so it's not reflecting a lot of light so tries to overcompensate for it so again man always the way to go wait in the next spanish question about picking your you mentioned that you talk with your bride's about what the best time of light yes well when the best light will be and somebody had asked do you want that golden hour late for this ceremony or for the portrait's questions the most important thing to us is photos of the writing room so we want the golden light to be for their photos so we don't care if they see each other beforehand we don't hear it they see each other after after the ceremony we care if they see each other when the good light so um so ceremony obviously it's ideal to have gorgeous light but oftentimes you khun time it in such a way where I mean what we've done before is we have time the ceremony where it's like right for the golden hour part of the golden hour and then we don't do family photos and wedding party first and then writing room which is only often do well say riding on photos air first family meet us here in twenty minutes or twenty eight and a half hour whatever so we have decent late for the ceremony and then the like awesome light is for the writing importance and old finish up with the family yeah and if you have a good game plan you can work magic in ten or fifteen minutes if you know what you're doing and couples ready to rock so we can have a a ceremony that's thirty minutes long during that sort of golden light and then it's about twenty minutes now until sunset or tell that you know son it's completely gone and we've done that we've ran literally oh time that slightly often we've ran out to the location or one time we ran in the beach we had like twelve minutes before the sun was completely gone and we fought about their entire portrait session like twelve minutes and it's good to have a game plan for that the planet really you need to take the bride and groom away and he gets to talk to them have the go cart ready to go to the beach and then we that morning we had a battle plan we're like okay we're gonna do this shot the shot the shot this shot we just like nail it out got beautiful something um kind of going on a different subject about peoples like how to pose people and your angle and shooting a lot of the photos were shoot showing earlier were from a low angle and what do you do for plus sized brij maker look smaller yeah great question and the easiest thing to remember is anything below the center of the frame gets de emphasized anything above the center of the frame gets emphasized so as an example if I have a bunch of gruesome standing in front of me and I take a shot from their knee height point up at them they're going to look big so they're gonna look taller they're gonna look more monstrous and if you look in a lot of fashion photography or a lot of red carpet personalities like a lot of people I'll tell him mariah carey's five foot three and they're like what no she's not unlike yes because the photographer knows to shoot her from just below the waist so she looks a little taller than average then she should and when he does that you don't realize oh my gosh she is this big you know she's tiny um so understanding that principal's real easy so I know some photographers and a friend of ours from nationals told us a very funny story once about how he brought a ladder to a wedding because the bride was huge you know like and he was like literally climbing up the ladder you know she doesn't know any different he's gonna know you look amazing and she said she loved killer but he's getting us high as he can the longest lens possible if you have a big bride never shoot a wide london her shoot eighty five hundred walk across the street if you have to do whatever you gotta do because that's going to compress her shoot high make her look up slightly at you at all times if it all possible and remember she's never looked that good she's not going to look like a size two if she's a size twenty but she can look amazing better than she's ever looked before so for shooting a bigger bridal strobes you know we'll put a longer lens on and we'll shoot down there still and remember she knows she's that size so if she comes back and sees an image and she thinks she and she does look actually good she looks better than she hasn't he's gonna other flu she's gonna be so excited I want a picture like that well that's what you do I'm gonna break rules though I'm gonna typically I don't want to shoot down and somebody even full length but if she wants the sky and a shot I'm going back way up in the long lens I'm going to stand up tall they can't get up it's on something higher and I'm gonna frame it so I see this and the sky with the longest lines possible so she's kind of down de emphasize on the frame the sky's up here I'm using a long lens which compresses her and I'm shooting slightly down her typically I wouldn't want to do that I want to shoot straight at him or slightly below emphasize her in the sky but if she's bigger I'm gonna break some of those rules and make her look like the smallest thing in the frame and she's gonna go we look amazing and then I'm gonna course remember short lighter assumes you short light somebody whose big remember you turned her this way and I got my life way the heck over here just lighting a sliver of her she's going to shrink by thirty percent and she's gonna think she looks like a dream she's gonna be so excited that you photographed her so it could be done great thank you see a question from see sean walder earlier you said I turned my flash up until it matched the exposure on my camera does this mean popping it until the light meter reads the same as the camera did at when stop below ambient yes exactly so if we have an exposure step to the sky on our camera and the exposure for the sky when I take a picture the skies underexposed well if I now turn my flash up to that same exposure now my flashes brighter than the sky which means my bride under my subject is going to be brighter than the sky so she's going to be properly exposed the background of the underexposed which is exactly what wants yes exactly what he said and we're gonna do this live to show you which it will all come together then so if you're still going on and I don't get it when we do it you'll still see your sink your curtains think no we don't it's a cool effect I think it's really cool I just don't have never done it so what do you want no pressure were current sank just means that instead of a flash going off in the ambient light dragging and does the reverse the flash fires at the end so it allows you to like drag somebody into a shot and then freeze them it kind of does the opposite of what we had just I think it's cool but kind of kind of making nothing against anybody that knows that but I just want more normal looking shots there's been quite a few questions this morning in the chat room regarding when you uh shoot using slower shutter speeds do you ever use a tripod or you always hand holding I don't even know what a tripod s oh that would be enough we don't just because I feel like it gets in the way so much like for me like the shot and right there you know the perfect and what usually what this usually means is I'm looking at them and what makes them look the most flattering boom that's what I want to shoot um so no we don't use a tripod would it be better to have one sometimes yes but we don't use and with the stroke we can get away with a lot slower shutters because do you want to talk to that really quick yeah I just remember that flash freezes people the ambient light may still be moving around but when that flash comes out and hits someone and goes away and it gets locked onto the frame so the camera or the camera sees that as a steady kind of thing even if you move a little bit after the shop depending on how much lights in the shot so if you don't have a lot of ambient life flash freeze people really really well and I shot it a quarter of a second before dragging an ambient light with a slow shutter speed and have been totally frozen in the frame really well so that our one over focal and threw ruel yesterday where to avoid camera shake you don't want your shutter speed and lower than what the focal length is on your cameras five twenty four to seventy millimeter lens I don't want my shutter speed going lower than one one seven india of a second one seventy in one second but when you're shooting with a stroke and get a way that rule no longer applies as much you can get away with a lot but still be careful check make sure it's sharp you can get away all right well we have some folks who have been asking about what you do for lighting reception that details the speeches and that's a good same way because glad they're after exactly perfect so that's what what we're going to be doing after lunch which we are now ready for lunch already it was like going by really clean so we are going to take you an hour lunch break almost an hour we're gonna be back at one p m pacific time and we're going to be outside when we get back and shooting shooting shooting s o before we go to lunch we're going to play a little video on the way out of doors so so we talked a little bit about that yes yes yes we are going to be doing spring tour two thousand twelve ten cities zach and jodi gray maybe coming close to your area doing are in camera siri's workshops there going to be super intensive super exciting there ten hours straight days hanging out with us hands on learning everything in the kitchen sink about all the kind of different things that we do and it's a limited class size two so we don't let a lot of people in there because we really want that one on one time with fifteen people on lee are allowed and the cool thing is if you want to go remember the newsletter gets access twenty four hours of bands way launched a workshop in vegas on it's sold out to the newsletter on lee so the newsletter it can really generate a lot of excitement in cell very fast through there plus we have lots of other great incentives if you're in the newsletter that will be announced coming up tomorrow and I worked our website we are announcing those cities that we will be coming to picker is counting down on the word self check it out so this video is going to show you some of our actual attendees actual experiences and what they thought about the workshops that we were doing these for nowt about three years

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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