Wedding Photography Weekend

Lesson 25 of 49

Outdoor Portrait Lighting Shoot


Wedding Photography Weekend

Lesson 25 of 49

Outdoor Portrait Lighting Shoot


Lesson Info

Outdoor Portrait Lighting Shoot

so what we're gonna do is we're now going to take you through the process of how we do this on a wedding day so kind of our roles and how they work when he bust out the strobe zack leads with it and what I'm doing is I'm either interacting with our bride and groom getting them to feel comfortable getting them all set and situated or um I'm I told last night just training but I'm getting them situated and what zach is doing is he is focusing on getting the lights it up so it frees him up just to focus on that so I can interact with the bride and groom and just hang out make sure everything looks good and fine and dandy so zack is gonna take you through our thought process and then you're actually gonna have one of the students do this for their very first time yes so uh we want walk outside here today and we have um completely overcast today you know we have even lighting which is great a lot of doctors like yes I love overcast days I actually hate overcast days because yes it's even li...

ghting but all the lights usually coming straight down on top of people's heads so we have raccoon eyes and if you were in the studio and had a giant soft box and he had one light you probably wouldn't stick it right on top of somebody's head it doesn't look that great but that's what we have today with an overcast sky so the great thing about having an off camera light as we can now decide what direction the light's gonna come in at any moment on our client so that's a really powerful tool tohave an overcast days work good in our advantage because the rest of the light is very even we can add light exactly where we want it and we don't have to use a lot of power because the sun's not out that that bright so what we're going to do we have this amazing sky back here with this beautiful grey clouds and kind of different textures up in the sky so we're going to take our amazingly rock star hot couple bring him out into the field here and we talked earlier when I do strobe shots um or shots in general I prefer to do the most simple background possible unless the background is really complex and plays into the image really well but in this case we have a beautiful open sky so let's use it let's make it look like they're kind of standing in that sky so they both happen to me trim and skinny which means I can shoot from pretty much any direction I can light them any way I want but we're going to probably do off to the side lighting either loop lighting or forty five degree lighting on them to start we're going to tame down that background and I'm gonna walk you through that same process we did earlier so we make sure that you guys at home and you guys that are hanging out here get that process and you go okay this is why it works it's actually working now so we talked earlier when we come out on location and we're using the strobes what's the iso setting that I probably want to be at any time during the day I saw one hundred correct so my cameras that I assume one hundred my handy dandy light meter which is in my pocket he's already probably said that's actually set eyes of fifty um and just a side note I shoot it I so fifty a lot because it allows me to bring my aperture down but for the sake of what we put on the screen I'm gonna shoot it I s o one hundred just to do the exact same thing so I'm gonna have jodi hold the meter for the moment so what's the next thing that we set our camera under I mean on waiter anything remind the next yes the shutters shutters what we said it tio and why yes we want that flexibility to tweak it later and we want to remember ex st speed where the shutter speed gets too fast it cuts off the legs shattered in the middle so the shutter speed in the meter's gonna be set to one one hundredth I can just leave that on my camera too because they're both gonna match up so now what's left is figuring out how bright that sky is and I remember we talked about their sort of two methods we use one is we keep meeting until we get to seventy percent or more and that tells us the ratio but down here on this grass is a lot darker than that super bright sky so how do we make sure we tame down that bright sky because that's what's gonna be in my background so all I have to do now I'm seto I assume one hundred one hundredth of a second all I got to do is point my camera up in the sky turn on my light meter adjusted until I get a minus one stop it's really that simple because I'm pointing it up in the sky I'm seeing f thirteen gives me that minus one stop just where I want to be and I can also darken it more with my shutter speed going faster or slower so now I've got to do this is said to have thirteen which is gonna dark in the background well now I've got to get the flash right here to f thirteen so I have a correct exposure here a dark background back there does that make sense so he's doing the second process that we talked about which is the custom blues guys if you're re watching this this is what we're doing right now we're doing a custom blue skies yes so we're gonna bring our amazing models over and we're gonna actually go just a little bit farther let's take a look here I'm kind of looking through my camera to see what's a good composition so I'm gonna actually have jodi hold this really quick we're gonna bring you guys right back here come this way notice I do a lot of like unlike a court jester over here I'm like making them smile in this by the way I'm telling you we're gonna bring thee to the moment you were gonna do something kind of artistic so let's have you I kind of like how you're grabbing your dress I'm kind of like like this and then we're gonna have you guys actually just kind of holding hands like this so you can just standing like that leaning on one leg boom rock star perfect yeah just like that you can't like you don't care about me and I'm not cool enough for you to look at I don't wanna be legs perfect my dear awesome so we've got two people out here we want to make sure both of them have equal amount of light on their face actually have them separated a little bit so we got to make sure that we feather the light just right so the bride doesn't get too bright and the groom's too dark or vice versa we're gonna light from the bride's side which I like to do because the bride is the most important person and I also want a sort of highlight this side of her and have a shadow on this side of her and then some light will be hitting the groom and then we'll have a shadow on this side is gonna look real our team creates we're going to bring our amazing assistant stacey in who is also our human light stand a lot of times I'll just grab the light from them and go this is where I want you to do right here boom so it's that easy for you to go okay I can do that boom it's all she has to do she's doing what's called loop lighting she's off to one side about thirty degrees so if they're looking at the camera we're going to get a little bit of a shadow on this side the bottom of the box from her perspective is just above the chin you see that perfect height and she's gonna make sure she fed there is it a little more towards the groom and the bride so she doesn't get over exposed so now all I have to do is get my light pumped up bright enough so that this reads f thirteen just like my camera read f thirteen once it does my exposure will be perfect and I could take a photo is gonna look awesome so is that thing on so jody go ahead and trigger it I'm gonna put it right in the center to make sure we gotta get even exposure going power up three clicks probably right to four hundred watts would be my guess a little little bit of wind there go ahead and pop it joni so come a little bit closer is that full power so I'm back I'm just a little bit is I'm hitting the test here relate to trigger and give me one more pop f thirteen right where we want to be and I'm actually have you guys cute together it's a teeny bit more perfect getting cold yet they're like you asked for freezing okay so right there red at thirteen so I know my exposure coming out of that stroke is that thirteen right on their faces now I can pull back and she and jody's gonna it's a little bit getting a little bit windy over there perfect so you guys doing all right hanging in there you look amazing grabbing the dress yeah I think it looks amazing so I know I'm gonna pull back here sorry camera guy I'm gonna pull back like this take a shot we're gonna check our exposure and it looks freaking rad and so a trick too sometimes you haven't set our ho ho and everybody can probably see on the screen at this point just how simple that was to do absolutely simple and amazing so now all I'm going to do is go you know what I'm looking at this and I'm going this is really cool but what if the back on is a little darker a little mood here what do I have to do all I got to do is speed up my shutter speed so I'm gonna go right from one hundred to two hundredth of a second take another image exactly like that one and you watch that background now darkened so let's do another one same thing guys not looked amazing give me kind of a serious look and kind of leaning your face this way little my dear perfect awesomeness and back the light up just a just okay don't go back back in close just straighten it out a little perfect right there let's do one more guys so I'm looking at the bride and the groom and I'm making sure that everything looks great so I'm noticing that the wind is actually blowing her hair up like this we don't want to move them but what she can do is I can tell it a position or face into the wind so then it just blows your hair back so yep super cool you might have a john your face that you made about you so let's do just a couple more shots before they freeze their little booties off um let's have you guys actually let's do one more like that but let's have you mind you're looking out this way perfect awesome and I'm actually gonna get probably a little wait here but get a little lower so I can just get there sky in the shot super cool you guys are freaking amazing at fan the light this way just a little more perfect one more like that looking look right up to the light now my dear perfect dude you're a rock star in it right now oh my gosh it's money so here comes another one through should be really cool and now let's have you guys actually come together because that would be a little warmer body to body and that's it like you can see the images showing up it's that fasten is that simple till the grab a shot just like I said that's cool turn everybody into him a little more and then looking back over at the light this way and maybe if you're kind of holding your coat like this might look really cool yeah holding tea to the rescue and you're looking out this way my man okay yeah no no no it looks great like that we'll bring him in those do one like this I love this super cool let's kind of get a nice panel shot and any time I do a horizontal shot with a lot of negative space I don't stand straight on to them and then turn my camera because it's going to take all those lines in the background make them go like this I'm actually going to move this way focus on them and recompose I'm in the middle of the shot which keeps all my lines nice and straight so let's try that looks really cool awesome dang you guys were hot holy cow amazing this what couple more in a while I just looks freaking incredible so it's really that simple as you guys can see let me take one more last one you guys and both you looking right hear me yeah oh jodi's fixing some hair really quick you won't believe how many images I have jody's like hand coming into the shot you know so both you guys looking here yeah serious love that and let me do one more where it's actually a straight photo all right here we go one more awesome yeah we're fixing their hair they'd get the story gets story uh that's not the story it is but one more both you guys looking here perfect super cool guys rocked my world just now so a lot of people online maybe going well what if I don't want to shoot it thirteen so I think we mentioned it real brief you let yesterday we'll do it really quick right now um this is kind of a new thing I got turned on to this by joey l I've heard about these for years but I just never tried one until I saw him do it joy yells like an amazing commercial photographer that's like freaking nature wow um he goes by joy because his real last name is lawrence joy lawrence like the actor and he doesn't like that so basically what this is you screw this on in the lands once you get everything set you just throw this on your lens and it's a son it's like sunglasses for your lens this is a three stop neutral density filter there's no great asians they have some that like make the sky dark and then everything else isn't this isn't one of those it's just all three stops darker across the whole filter so now I can just take my camera instead of thirteen I'm gonna go one stop which is f nine two stops wider at six three three stops now I'm shooting at four five instead of instead of f thirteen and now if I take my f stop or my s o from one hundred to fifty and then I can bring my f stop down even more one two three more clicks is f three point two so I went from f thirteen f three two and now I can take another shot exactly the same but with a very shallow depth of field pretty stinking cool so if you like what was all that um don't worry about it we don't do that at weddings and this is just something fun like I e probably will now because it's a very cool but we're gonna keep things eh so we'll go ahead and do that and we'll keep it simple and so we do the whole process of like what zach just went there and so now he likes to kick out and give it all all the all this says is it makes everything the camera sees three times darker so if you open up your aperture three times brighter you're going to get the exact same brightness on the shot except it'll be in a shallow depth of field so let's go ahead and try that really quick what you guys back together really close give me that kind of serious shot I loved it super cool awesomeness very cool we're gonna come in a little closer lean in and real close nice and give me kind of like serious I'm kind of looking that way my dear a little bit yeah really cool let's do one more that's awesome and look kind of looking past me both you guys looking at the light right there yeah awesome that's great one of those that's killer do you want cory's jacket unbutton me no it's great isn't looking hearing what's awesome so it may be hard to tell because the sky so far away and maybe let me do one more where I get a full length and you can see the ground a little more both you guys you're looking here awesome it was jodie and now let's do one more without jody innit possible super cool you guys so hopefully you can sort of see that depth difference can you see it in their chris now you've got that nice shallow depth of field where they really pop out of the background in the frame and now you can get away with sloppier composition basically because not everything's in focus so it's a cool little trick a cool little tool um to be able to use may actually have somewhere you can adjust how dark they get on the fly which is kind of cool but I like the three stop because I want that aperture wide open if I could get it wide open pretty cool all right so we've got samantha and she's gonna act this outing on really quick do you have any questions from online about what we just did so let's have you guys running for two seconds and warm up while we take two or three questions and we'll bring you back out I can handle the cold I'm from minnesota okay jasmine lee photo is wondering um about the octo box you're using right now um you uh never really talked about it during the lecture and wise using this one in lieu of the westcott soft box you're talking about awesome question I bought a new softball it's from ellen chrome uh a week ago um he likes to play with your toys I love new toys and jodi let me get a new doctor bank um what's really the only difference between these two lights is one's a slightly bigger this one's a little bit too big we actually brought it to our last wedding when I brought it to that wedding I realize it was just a tiny bit too big so the twenty four by thirty two soft box from westcott is much more practical at a wedding this one's just slightly too big win in this big situation with all this room that we have I thought let's use a little bit bigger light source which I thought was really great the difference between a soft box and an octa bank like this is a soft box has four sides octa bank has eight and I don't know I don't understand the math behind it but something about the shape of an octagon really helps rap literally wrap light around your subject space you probably saw those images when they came through they have this very like smooth texture look and the solid box does the same effect but this just doesn't a little bit a little bit more on the subtleties and the difference is is something that unless you shot on a lighting for years and years and years you probably wouldn't see the difference but it's a beautiful beautiful lights or so I really liked it so I want to try it out and it produces a pretty stellar stellar piece of life which I love no but it's a little too big for weddings I think they also make a twenty nine this is a thirty nine inch it's called the deep octa they make a twenty nine inch version which would probably be more practical for weddings any other questions yes uh question from one shot do you have any problems with focusing when you have the nd filter on yes much harder to focus because it's like when you put sunglasses on anything it's darker it's harder to see same thing the darker it gets the harder it is to see this one d camera this one has no problem focusing even last night when you're out here shooting it was very very dark and I like had a bunch of fog over my lens which made it even harder to focus but it's still focused really well using a five the mark to probably be a little more difficult but as long as you using that centre auto from this point on a five day mark to our groceries because that's the strongest one it should be shouldn't be a problem a couple people are one dream what brand your nd filter tiffin this's the tiffin seventy two millimeter neutral density point nine point nine means three stops point three would be one stop point six of the two stops darker point nine three stops so make sure you get it to fit whatever lens that you're going to be playing around very specific I used the eighty five a lot so I got one that fits the eighty five great question from jolene what if you don't want recognize but you still want directional light but with less of a dramatic look would that be the three to one ratio seventy percent sorry what was the question not super dramatic so jolene as if what if you don't want recognize but you still want directional light but with a less of a dramatic look would that be the three to one ratio yes three no one's going to be much less dramatic and then if it's a fill light like the exposure on your client's already correct say cloudy sky out here is I s so one hundred one hundred per second for you to turn your flash on four which is just gonna fill in shadows then it's going to look super subtle you're barely gonna even notice there's a flash on there but three toe one which is that seventy percent ratio is gonna look like there's a flash on it but not not much not like what I just did what I just did I darkened my subjects compared to the light right here for they're about three times brighter than the light that's down here super dramatic very dramatic which I like drama most other question men uk photography is wondering if you could take a photo with the flash and filter to see the difference between see the difference of the shot with the flash would be nice to compare so maybe a shot without the flash on yeah so what would you do that harrison let's bring them out actually before we move on on so we have similar lighting and we'll do a shot without yeah that's a great idea and I think that with on they say okay so they want to see what it looks like just normally with the filter over the lens as well so we should do with the filter on the lens there be no difference whatsoever all this does is make it darker so you have to open your aperture so you're aiken shooting the natural light I can shoot it at me f stop I want because I can raise my shutter speed very high so it wouldn't look any different at all with the filter on her off with natural so yeah let's if you unless you want take a few more questions it's up to you let's bring them out really quick just so we can somebody needs somebody tell them so we can do some before and after so people can see those I think that and while they're getting them we can take one more question maybe uh question was from sutton photo two thousand twelve uh is the white balance set to flash yes because we have consistent color coming out of the flash and any time the flashes the dominating light source seventy percent arm or of the flashes coming from uh somebody per cent of the light hitting your subject is coming from the flash you can set it to flash and you're gonna get great color all the time but if you're mixing lighter just adding it has a little bit of phil then you need to do a custom white balance or some other white balance method cool all right we're gonna take a quick shot of them and we want to get that on the screen is the question they taped you all together um sorry we cannot take people want to see it but I didn't keep that all right we'll find it without knowing without strobe they just want to see a naked one without strom on it so we're gonna need that really quick just with the correct exposure so I was waiting for the camera to sink together here you want to say something oh there you are awesome so I'm gonna get really close so I can figure out the exposure on their faces so exact is doing instead of using the explode iskan standing where they are going to get back into the light he's now zooming in with with his body he's getting in close and he's filling right so I'm gonna take a similar shocked or what we took earlier also feeling the frame is frame of his camera their skins we can get a more accurate exposure so we don't get all this black that throws it off and all this weight that thursday in camera meter off so he's got that tonight's stepping back it's a similar shot with the same whiting trying to get this cool composition of the sky looks so awesome here it comes so that's what it looks like before l naturally all natural right there so I'm exposing for their faces the sky's completely blown out as you can see and we have basically a really flat texture there's no dimension or anything to the image whatsoever it just looks pretty blase and as you can see the light on their faces their eyes are completely dark no uh directional light whatsoever most of lights kind of falling in behind them somewhere and it looks pretty awful

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.