Wedding Photography Weekend

Lesson 14 of 49

Outdoor Shoot: Bride & Groom Portraits


Wedding Photography Weekend

Lesson 14 of 49

Outdoor Shoot: Bride & Groom Portraits


Lesson Info

Outdoor Shoot: Bride & Groom Portraits

so now let's use um l portrait okay so what we gonna do I think I'll move you guys back just a little like right there perfect and we're gonna probably re white white balance our cameras just cause it's been a little while since we've done it so I'm gonna really quickly grab my expo disc pull it out pointed back in this general direction we talked earlier about making making sure that uh this is in the exact position of their face before you know to make sure the exposure's correct but the light out here is really far away so that exposure here and here is exactly the same so I can put it sort of in this general area and it's going to be correct so I'm just gonna make sure that my exposure's set right which it is take another quick shot with my expo and bam oh another quick thing people may not realize is that for cannon if you don't if you can't focus you can take a picture so jodi and I actually used back button focusing um which allows us to take photos at any time and not have to s...

witch our cameras to manual focus because when you put in explode is gone there's no contrast and you can't it'll just sit there and try to focus a so we use back button focusing which allows us to just snap a photo on the front really fast which is great okay beautiful bouquet oh my gosh it looks amazing so what we're gonna do is jodi and I are sort of going to demo for our couple well demo for the camera first how we want the bride and groom to look for the first shot actual let's do a walking shot first all right that'd be the easiest normally we do walking shots first because they're not super comfortable in front of karen by that time probably done engaging session of them we've been shooting them in the morning but you know for their first photos together we don't want them to feel like super pressured or anything so this is what we'll tell them you like all right guys we're gonna do some walking shots so we're gonna move you guys back way back here we're gonna start right here and you guys probably are pretty comfortable walking so much assuming pretty easy to do so all you guys got to dio hold hands like this turn your shoulders toward each other and you can take your bouquet and kind of hanging down the side and the more like this you got going on the better so you guys just gonna walk looking at each other and your job is to make her smile which should be easy to dio piece of cake you know each other so well she really really so while you're walking you just you can throw a hand a pocket actually unbutton your coat if you want give me a little swagger turning towards each other walk in and a couple of times if you feel like you may laugh look that way because we got beautiful light out here and I want you to look into that beautiful life okay so now because we're having them moving we're gonna make sure our cameras are an a servo and so we want to track them as they walk and um oh yeah we only have one cord once sync corr doing its awesomeness right now so it'll just show photos from zac's camera but when we go through um when we go through photos tomorrow then you'll see what I am grabbing as well ok so what do you guys already go for it and looking at each other looking amazing oh my gosh that's awesome super cool you guys left and yes more stop that was great one hot back and do one more okay so this time that was awesome this time walk even a little closer to each other don't be afraid all right here we go one more you guys ready look turned shoulder stores each other not quite that close perfect all right go for it yes amazing smiling uh looking out to the scene super cool you guys rocked my world just now amazing let's do some flair goodness super cool that was great all right quick question from the internet yeah um I was noticing that you guys are getting amazing photos of the bride and groom and there's all these photographers also snapping away behind you in a really life situation there are family members there are you know loved ones attending the wedding not all have great cameras snapping away at the same time how do you handle that delicate situation jodie most of the time when that happens is wearing like you hurt them um is that we're doing the family photos that's kind of the time when they get in our way oftentimes we're doing porch it's like this they're not around which is great um you know these guys they're here to shoot just kind of shoot over what we're doing but way have this photographer national name is evan and she said something really great that I've had to pull out sometimes it's like all right family all these totals will be online we'll be able to see see them then but right now we need to take the photos of the bride and groom and oftentimes what we'll do is we'll make it more about the bike bride and groom and not about us and we're like all right guys we're losing our light we need to hurry here so you can take photos of the bride and groom and then they're like oh so I think it's always a tray and having you know great positive attitude about it and then sometimes it's like all right family I'll give you guys ten seconds to take your shots but then we need to move on and we need to get these shots for the bride and groom just kind of saying nice things like that when you really want to be like stop great advice stacy can you find me the fifty millimeters baby let's do some flair what do you think it's monitored okay so we shot them walking and then as they were walking um I see the sun shooting through and I'm like oh I want to get some blair shack so here's a little trick to what we do for getting flare which is my favorite so we have this swing set in the background and I want to make sure even though a lot will be washed out let's get you oh yeah plugged in so what I'm doing right now is I'm gonna look and see where I want to get my flair and I actually think I want to do it out here and well the cord reach camera I'm plugging in I think he could just do it right here you won't see that in the background should blow it out geno yeah I think I'd like to dio we're here though because yes let's have our bride and groom lt all right guys come on over this way so oftentimes when we get flare shots their faces are really dark and then the sun's really bright and how in the world do you expose and remember when our cameras are an auto they don't even know what to do so she's really dark and she's really bright let's pose them first ok so jody's gonna come over by me and that's what I love about being a married couple's weaken show them exactly what to do so we're gonna have you guys uh cory understanding just like just like I am straight on like this go ahead uh and learn you'll just do this and then put a little bending your elbow and landed on your back leg so it's kind of hard to see with the coat that lauren has on right now for a second um so when we have not whenever we have a bride stand and she put her arms straight down look ahead which arm straight down this just kind of adds to her waist so whenever she puts a bend in the elbow it creates some space here with the coat we don't really have a lot of space that any time we can have a bride and we tell her to put a little been elbow it just makes her look a lot slimmer so little trick deposing working working so as zach is making the l camera work so what I'm gonna do is I'm gonna have that cold the reflector for me let's grab my camera if we can really fast cause this one doesn't seem to be working if you don't mind taking a picture think warm thoughts I'm gonna need that lens sorry psy brah you have to use this camera uh let's see if it's starts working here we could have waited more ben's more twists the better so lauren go ahead and put your arms straight down see how just like she kind of likes I mean she looks amazing but you know so when we tell all right go ahead and put your weight on your back legs so all of a sudden that puts see that bend in her dress now who and then you say hey put a little bit in your elbow all of a sudden it just looks really sweet and some rides they're like ok I normally don't stand like this in real life and we say looks weird feels great weight feels weird looks great not sometimes um while we're tweaking us stuff too if it's a really hot day I'll use the reflector to like fan the bride and groom let's see if we can get jody is camera loaded back up can we take a question are there any questions while we yeah well we just have a little technical difficulty catherine what if it was cloudy and the lighting booth we'll start that one over um from joy katherine what if it was cloudy and the lighting conditions were changing a bit more out here what would you do if the lighting was awesome and consistent okay so often on cloudy days for the most part well maybe you're thinking I'm thinking maybe partially cloudy with blue sky it's okay so we have like clouds coming in and clouds right now we'll try and take advantage of the situation so we have a big cloud coming in like awesome we get set we shoot while they have that and then if the bright sun comes back out then we'll run to the open shame or we'll pop out a diffuser but as the light is changing then we obviously are changing our camera settings were reese finding our exposure and and getting our color as well because cloudy light is a different colored and sunny late and uh we have a question from jail seven photography I love sun flare photos to jody but I always wonder when it's too much to have guidelines or is it just a matter of taste I think it is a matter of taste and sometimes it's really hard to like make sure it's not being washed out and then you want a little bit there so I think it's just depends on like how hot the sun isn't that time of day and just move it around I really like a lot of players but that's me but I really like to see you know some details as well so I think it's a matter of taste yeah definitely and just watch your bling keys if you know what those are turn your blink he's on what you're gonna flash for you um and if people space is air blown out that's probably too much if it's blown out back here it's probably pretty cool so just avoid the face being blown out and then as much flares you want to go for that's your style you know do your thing so we're gonna have lauren turn even mohr towards uh corey was like what and then all we're gonna have you guys do it's kind of look towards each other like this and we always tell our clients cross eyed clothes or sometimes after they're married will say honeymoon maybe close so we want them in you know in the camera people look very far away even when they're an inch away when you're trying to take a close up like intimate looking portrait so we are like closer closer closer yes so to close and then everyone laughs you know so we try to get them as close to cancer remember we said earlier we've got this direct son now so don't look at the light because I'm gonna purposely make it look bad if we put this at them you can see we've get some pretty bright contrast delight which actually you know they're super hot they can handle it but if we put white on them instead it's super soft and super subtle and it is much more even and much more flattering on the typical person they're not typical but typical person yes so we're gonna have uh cory looking at lauren and him kind of leaning towards her faces we'll close together jodi purposely took her lens hood off um so she can't get a very floury shot so she'll take a few images but the exposure for a flare shot is going to vary so she's going to be really watching her camera make a few adjustments as she goes so well in this bad boy next to their work faces and I'm pointing it's where I'm shooting from and I guess I need to see me I came here so I'm just making sure that my exposure is down the line that's putting at me at one two hundredth of a second if I wanted to I could lower my eyes so because I met I s o four hundred shooting it to eight but and sometimes and I said we want to use white with the wreck son but sometimes silver gold does look great it just depends on the client when I put it on them I went mad man it actually looks really good so we may switch to that sometimes it varies depending on the client so nasa let's get forehead to forehead guys and so now I am using my hand closer if she won't bite you amazing uh love it's so this first shot that I took you kind of have their faces it's like their faces are exploding as they meet each other so little to broke so I'm tryingto you can push it over from the shoulder over here I'm trying to focus so now I'm gonna do is I focus and I'm just going to move around a little bit and just try to come over her shoulder might be a good spot and then focusing after like sometimes block the flair the super cute so washed out doesn't love it we gotta go over her shoulder with the flare over his shoulder and zach likes to tell me what to do because I'd be like okay we'll just slap and you'll shoot to uh I'm not getting played over here so all right so perfect guys love it and then I'll change it up and I'll do vertical and so it's just moving the camera around seeking for spoke a ce and so you get a little pair of it so it's not blown out or if it is you didn't rape a woman I'm gonna go a little hotter you use this one so if you're more guys so what I'm gonna do so now switched this I'm too brighter so I'm gonna just double check my exposure that's gonna be quite a bit brighter word that's elaborate er so actually I won thirty thirty two hundredth of a second to see that right I'm gonna put my eyes so down because it's at four hundred I don't need it that high and super right okay and I'm at one six thirtieth of a second and the color changed a little bit to you so I'm just gonna go ahead and sent my wit bones all right I love this saber teo again we have a big like flare in their face and I almost want to get it to the top of their head so I'm now pull back for a few further back to school supercute guys love it focus camera on a moving around we catch that light so now we're just playing around sometimes we're blocking the player totally sometimes we're letting a little bit in just kind of playing around with where the carols until like putting my back to you so just kind of playing around different things and that's a really okay so now it's not use the reflector at all and so now let me take the shot and you can see the difference that it makes all right you two for you two for head again pretenders so now they're just kind of black they're kind of cold looking and it doesn't look as dynamic as if we had when we have that light reflecting the reflector reflecting the light also questions yes questions uh question from um mth twelve in the bright overhead light how do you deal with the glare in your lcd screen when trying to check back your shot on your shot shooting a wedding in jamaica I found this to be a big issue a shade was not always available great yeah awesome question that's when you know the history graham is your best friend because the history ram is simply a matter of bunch of lines you know that air pointing up and down and those are easy to read in any lighting situation the screen we always call it the chimp screen because people you know for tires will shoot ringo who what did I get you know and there's really no accuracy on this screen it's not a calibrated monitor and as you mentioned if I put it in sunlight it looks one way and if I put it in shade it looks another way and every photo looks clear and sharp on that tiny little screen so we use the hist a gram all the time usually in the rgb mode or the red green and blue because the red channel is skin and if skin is over it you know pushed right to the edge and shooting up the wall that means it's over exposed and you're too bright and if everything shooting down to the other side it's too dark but the thing to remember the history ram is it's just a guide there's no correct history graham it's just giving you a guide saying hey is something supposed to be super bright right now is something supposed to be super dark so we are using the history graham were checking our exposure is the way jody and I've been doing it we're double checking in you know with the expo disc and then we're watching that history ram as we shooting if we pull a flare shot also the red channel shoots up that means we left way too much light and that's gonna be gone or over exposed use the hist a gram make it your friend yes when you're doing this with the flare or maybe I missed it ru expo disc over again which is going to give her a correct exposure fell yet overriding the flaws of that camera meter and given us given us that all we got to do is put the in camera meaner to zero and it's gonna be correct every time any other questions question from seth eight four seven two what are your suggestions for these types of shots of it is raining hmm well it depends on the time of the day if the wedding already happened then ask the bride and groom to go out in the rain which I think is awesome you'd be surprised what people do if you just ask but if it is raining and we're stuck say indoors like we shot a wedding and a vineyard in atlanta one time and uh it was the most beautiful place you've ever seen in the day before we were there for the rehearsal it was awesome and then poured all they long so we had to use flash inside in the winery you know they happen drums and all that stuff so I think it's really important to not you know I've heard that before like I'm a natural light photographer it's like cool what if you're shooting in the basement of a winery for the entire photo session and there's no light you know the lighting is horrifying literally even the windows that day there was enough light coming through windows to even get a window that shot so you have to be versatile you have to be able to pull out flash if you need flash and that's what we did for most of that day or you know sometimes there is some overhanging that do have nice light pushing in but you don't always have that luxury so so if there are others if there is nice late around so it's pouring outside and it's not like our winery situation where there's no available like we would look for overhangs like what we have here we would put them the overhang face him outside our out this way and then we'd grab an umbrella and shoot from a grocery lorraine if we have to or find some nice windows where hopefully we have a little bit of window light coming in but so those are kind of the bus probably go twos but other than that you need to know howto work your flash create your own late all right you want to shoot some standard portrait didn't want any more questions well of course twelve on in a bright overhead light how do you do with the glare in on the back of your camera on the lcd screen when trying to check the your history graham so we just said that he did over there that thing well the question was like the first question was like how do you look at your back in your screen and we say you know don't look at the photo look at your history but sometimes it's hard to look at the history and because of the glare on the screen so oftentimes what we'll do is we'll block the sun with our bodies and try and get that camera in the shades the least look at the history ram and then I think video peeps have like eyepieces are I've seen other photographers have eyepieces that kind of cover up that whole screen and then look through its you khun see it that way one more one more quick question from jennifer is how often do you check for the catch lights in the eyes of your outside like this that's all I pretty much do all day long when we're shooting portrait's that's the only thing that's important to me and the closer I get but I'm looking at their eyes all the time and what's the what's the direction of light in their eyes because if you simply if you take an eyeball and turn it into a clock and the eyes are in the catch light in the eyes is that twelve o'clock or eleven o'clock ten o'clock or one two or three o'clock those air all the positions that you wanted to be in it's in any of those positions you know it's gonna look awesome and I'm always looking to see if the eyes are the brightest part of the shot because they are we're gonna have an amazing image yeah so when esther assistance holding that light that's when we're looking in the eyes it's not that we're necessarily zooming into every shot but we're looking because if we bring that down here then you know let's do this I don't know the cameras can catch this but here we're reflecting light here and it's like scary movie see the shadows or shooting up the catch let's just take him and you want help with that yeah so go ahead and do that again even better a little more I can't say that I'm being blinded but I was there they're all right nineteen mauritz not dramatic enough get way closer getting blinded there we go there we go so now we've got this light no I look right here my dear you've got this light sort of shooting low enough let me get a correct exposure here there we go all right looking right here waiting again perfect but use a different camera all day so as you can see if that pops up on the screen we've got this awesome shadow shooting up her nose and making her nose look like it's twice the size it should be right not too cool so we're going to do now is go ahead and bring that light into the correct position let's do the same lighting nice and high and then look back this way a little bit perfect in the light should be down right there so we're looking for that catch light as we're positioning like back this way a little bit more here with your whole face perfect and then look right here awesome so now that we've repositioned the light hopefully that I might have just deleted that hang on teo do that one more time perfect that's awesome now that we've got this light in the correct position and that should come up on the screen there in a second you can see now you've got this shadow moving down her face in the position that we want it moving into so the previous shot scary movie lighting with the you know about catch light in the lower part of her I now I've got in the upper part of ryan it looks way way better let's move back in here and actually do some portrait's like we did didn't we want to do anywhere outside put you mean thing ok I thought you'd like it so now let's get out of the direct sun because usually that's thie devil we want to try to avoid the direct sun as much as possible I want to have my camera back please it's now we're gonna knock out four or five different quick little setups for some portrait ce likely would do with the bride and groom so we did the walking shot we did a quick little flare shot now we want to do some simple shots of them just looking great looking at each other looking at the camera and we like this lighting over because it's soft it's pretty we're gonna grab a reflector and add some light to it so we could make it even better wei have a reflector johnny wanna grab that and let's see if we get the camera reconnected I think we're having a problem with that camera mean connected again sorry I just unplugged it uh sorry our tech guys killing me stop unplugging anything let me know when you're asking girls do you have any questions that we can take mango all right we got it working never mind all right awesome you guys look absolutely amazing right here so what we're gonna dio jodi come in johnny's gonna step on this side so we're gonna have you guys do is just some standard shots and go ahead and throw your coat back actually I look cool for how you had it just kidding now we're gonna have you turn in a little bit more like that but then good posture leaning on your back leg and then kind of leaning together like this yeah awesome very very cool and then take your flowers and kind of flip him this way perfect and it's up to you do you want to do any with the code offer you're gonna freeze your butt off all right we'll keep it on for now for the shade the shade is a little cold perfect okay so let's have you turn just a little more this way and tucking yeah that looks great perfect big hair on you right where we want to get rid of awesome that looks amazing so come in real close we're going zach and I are both going to shoot he's going to shoot from one angle he's gonna shoot from one angle and then I have the seventy two hundred lens on but remember my camera was set for when we were doing that flare goodness so I'm just gonna turn my camera on and make sure that my exposure is where it needs to be and I'm going to go ahead and bump up my eyes so I should probably recheck my white balance because it's been about thirty minutes since we've been should and I'm gonna go ahead and apply apply the white balance in my camera man so that looks super cool you guys love it so we're gonna have uh corey let's have you looking at her and kind of leaning towards her and then yet perfect just like that you guys but I'm gonna move back because I want that nice depth oh my gosh you guys are freaking rockstar hotties right now looks amazing let's do a couple more look so good let's have you looking out that window my dear corey looking right hear me yeah and kind of give me the serious one dude yeah you do nice super cool now I'm gonna go ahead and grab a couple of verticals and let's have a reflector move back I'm actually gonna grab some of those details down low because it looks super cool awesome yeah dude that looks like money coming really close with the reflector too close back up just a scooch right there perfect and then looking out that way my dear both you guys looking right out this way yeah awesome super cool now let's come in real close and bring reflect real close both you guys looking right here at me nice hot frickin teas I love it and let's bring the reflector around this way and bring it right on her chin down a little we had we had it there ringing in down and there it is much better super cool you notice I did a quick little adjustment there if you sort of look at the previous shot to this shot now we have a lot more light in our amazing bride's eyes as you can see right there and I don't know if we can skip back to the previous shot is that possible not a big deal if we can't but that looks great so awesome so now let's do it on a bench yeah okay perfect so I ran over here way have the nice late stacy may I have the fifty mil please daddy how long you would you would usually take to perform this whole outside thing with a really bright there were a couple yeah uhm ideally we'd like to schedule an hour we never get an hour um so if we can have twenty minutes with a couple then that's good so what we kind of do we have a game plan you know we have a go to shots that okay um maybe yourself um we have our go to shots that we know you like I do and then if we have extra time you know that will kind of play around and whatever but about twenty minutes I'd say is what we end up having with couples sometimes it's more and are those goto shot's kind of exactly what you're sure yeah yeah yeah like walking flare sitting close which you're about to do that kind of like her thank you because we're gonna have you guys do it simply just insert woman so he's gonna have you guys kind of sitting not super close together because this is like so awkward we always tell people sit a little bit apart so we can leave together because that looks so much better and then we can kind of get in and get these sort of side shots like this that look really great so one shoulder behind the other maybe we'll have you turn your shoulder inside his like that looks great and then we can kind of move them together so we'll have a reflector yes and let's actually sorry switch it with the bride on this side because we have more light on this side and I want the bride to have the most light available to her I'd rather have a groom darker if I have to have the groom darker all right you wanna plug me in yes so we'll swap here the great thing twos we had this really simple background which I like you know it's just simple greenery it's got a nice texture in the background and it's really easy to handle like we don't have all the worry about stuff sticking out of their head or weird things in the background that's why I prefer to shoot in sort of the simple situation all right so lauren let's have you lean you're back into korea let's suit that looks like and then you could bring a short short order yes yes crushing his boot near here sted but yes okay and then korea let's have your forehead just kind of like resting on the side of her head yeah you could bring your face a little bit more forward yep perfect alright not teo oh hello oh no awesomeness so true checking my history ran here I'm a little bit spiking blown out so I'm gonna just my shutter speed you guys look great see rise all right lauren look here with your eyes ok for you all right yes so cool of that right now see now as ex saying that like oftentimes like when I'm shooting zach all kind of do is like side banter and so that just makes him laugh and so they were able to get these really great shot record all right so learn let's have you looked down with your eyes you go ahead and smuggle it back how you were perfect and I'm just gonna watch always watches the bride's e could get a little more like they are blocking yeah oh that's perfect yep and sometimes adding light is a real subtlety I don't know if everybody else can see that jonah pull it away a lot of times I'll do this you go ahead and take take a shot okay I took one with it and here's a live one more because I want to focus focus so there's there's a shot and you can see that how gorgeous that looks with the light now go ahead take another one my dear without the light added so we can see the difference and it should come up on the screen in about six seconds here so now we'll see the difference between those two images it's what we're getting you got so both of them actually look great one of them has a little more contrast one has a little less but if we want to fill in those shadows you can see even in this there's not a lot of light right here you notice what camera is running right now this guy so you notice I was doing this a lot I'm watching that light subtlety the subtleties of the lighting going where is it okay there it is and all of a sudden that's where the light looks great let's snap a few more we'll get them kind of having fun giggling laughing oh my gosh it's amazing way I love it and then lauren let's have you look off in the cory you look at me and keeping it together yeah awesome awesome we had this beautiful lighter can torture her face with one of the camera yeah do own it I'm getting there and then and also what we'll do is now will just kind of get like a nice little portrait he shadow cable so you just look at me you looked right at the camera making sure focusing love it long way focus sorry alright lauren look up that way super nice and then what we can do is like actually have you look off that we're just like you were leaning into him but corey looking off this way and give me kind of a masking but leaning together with your heads you have a kind of yeah just breathe in through your mouth yeah money oh no that's super cool and lawrence have your chin up a little bit more a little more a little more perfect and what I'm careful of if I shoot down like this then I'm getting like some of the house and some of the hot spots they pull their flicker back just a smidge and then so I'm like I don't know if I really like that it's kind of distracting so I'm actually gonna I'm just watching what's in the frame and so now I'm gonna get up a little higher on my body each other and so all right so now I'm anymore down so it's not as distracting right so one two three super nice and focus on the groom and I'm actually gonna come to this side now I'm like her the groom strewn all right and so over here I have the playground in my view so I'm just going to scooch over a little bit yes corey lovett notice how like in depth this reflector is to get that light that we want we always want to go the extra mile if we have to because that's gonna avoid us having a dodge and burn someone's io we get a blinker on that last one way the that's a good way so fantastic I mean that looks I mean those like super solid very very you guys is that exciting you get them and that's the thing is like be ready for those moments oftentimes we'll be like channel them saying something funny and we're all laughing I should like because then you get a great look like that you love it so let's do by the way ladies he is single let's do one more shot of them sent because I think it looks really cool so I switched back to my camera let's do one more of you guys cause this looks great but let's do this lauren my dear so we kind of turned you a little more this way and screw you right to the edge corey let's have you just totally turned straight towards me is gonna be kind of a drop shot you kind of lied before mike earlier looking for tens lauren you're kind of leaning on him but a little more this way perfect and I'm kind of looking out that way super cool and then jodie you're gonna have some reflector on this okay so quick question with focus point it's when um when I'm shooting horizontally and I'm that in tight oftentimes I will use my middle focus point because remember the closer we are umm it's easier to get the focus off so if I'm not moving my camera much and I'm probably focusing something and that's more down the line in the centre aisle just like focus on them and recompose if what I'm focusing on is really far off so from having to go like this focus and then recompose I know my the focus points going to move so if I'm not moving too far away then I'll use the centre one but especially when I'm shooting like this I'm focusing on the eyes and re composing I'm gonna miss that focus so oftentimes I'm vertically and especially tight and close elise that top focus so I kind of dig this it's a little different I'm gonna have the groom kind of leaning forward and you can just kind of like grab your hand like that looks cool but leaning away for like that she's gonna be leaning on your shoulders and you kind of look yeah chin up a little and lean a little more this way lauren like a little more on his shoulder oops hello yeah perfect and then looking out that way again yeah look super cool then joanie gonna move way back and I want the whole shot so throw a little light in there if you can but the light here looks really great right now I'm gonna scoot way back here and if we can move all these chords in that plant really awesome is that plant is perfect so I'm purposely wanting to move way back I got my eighty five l and then lauren real dramatic just like you've been doing it perfect and then jodie skate back my dear yeah that's awesome of it so I'm watching this like cord hanging down from the uh jungle gym over there which I don't want it my shot how does that light look looks great so I'm double checking my exposure noticing that lauren is way too bright so I'm adjusting my exposure all right look super cool yeah totally dig it so the reason I'm out here because this is where the light is for me to reflect to them when I stand with jade there's not a lot of light but out here I'm actually popping some late on lauren super cool bro give me one looking way that way super far yeah and learned a little more face towards the camera perfect really cool uh ouch lovett that was awesome very cool we got a few more minutes let's do another set up you guys can hop up there quick if you like you amazing job you guys staying warm enough ah hee so let's do one where we have lauren in the foreground in korean the background unless you want to do a different set of way could totally do that you can rock the background can't you so and this shot were really um we like to tell the groom sometime just make him laugh and relieve the pressure you're more of a prop so um what we're gonna have is we're gonna have our bride lauren in the foreground and then I'll see you back here man all you gotta do is stand kind of slightly angle and actually maybe this play on and then looking out that way profile me here just like you rock yeah boom awesome dude actually what I'm gonna do so this is cool um are you going to shoot this it's up to you if we want to try to bring that thing back up whatever man go for it okay so yeah actually yeah that's really cool kind of holding it like that is really cool oh yeah awesome there's your waist that's great that's awesome and so large is pretty slim but we're gonna even maker it's grub to reflect and put it on side of her brain and yes okay so closer way closer yeah all right everyone look at lauren's waste on how much slimmer she looks now go ahead and face me straight on see the difference so any time we could get a bride turning like that looks awesome and then you can actually turn back a little bit perfect just like that and then if didn't have that you know big furry coat on you know it's a make sure you get a little better switch it up just make sure to but hold on make sure to put a little bending your elbow and then you know that helps create that space there were always watching for that for our bride okay take it away I'm not getting real close at the reflector awesome looking right here at me very cool one more of those that was great nice and then I'll come home kind of fall down and get one of the flower looks cool and then pull back to packing coming real close to the corner and then looking right here me and kind of like let's kind of grabbed the bouquet in the front like this yeah and then just kind of perfect and real close with that light how are you doing great back then there did you see it boom yes my dear oh my gosh that's amazing don't move and now that I'm in real close my exposure I don't know if I got darker out but the sun is starting to go down but my exposure got wax that's great looking out that way so I did a nice big exposure adjustment much better let's do one more looking kind of like you were like oh yeah super cool and get him tons of laying on her yeah that's great looking right here meaning in great and sometimes I'll just take advantage of taking a few shots of her while I can even if the groom's on in the shop ten mormons yeah she looks like a rock star so it's really just some a simple that and sometimes we leave in an hour we're looking sometimes we'll even swap you know like okay corey come on up all right lauren it's your turn huh let the background to point something out I shot a series of images just second ago like I switch everything out the lighting change I think we have some like light clouds that rolled in down here so the whole scene got maybe about one stop darker back in that shade or maybe two thirds of a stop so shooting a series of images and I was watching my history graham and it wasn't dangerous but then when I kind of looked on my screen and check the red channel on my history mammals like all those could've been brighter and now that I'm looking back on my camera han ah man those are a little dark but they're not too dark right corner just him later it's better to not be in the middle of those if they're not too dark where I can't recover them they're totally fixable it's just a two thirds of a stop under exposed it's better to keep shooting those for consistency sake in in postproduction I can adjust one and apply it all I could have went oh let me switch this a re shot her like spent all this time tweaking and then in postproduction I'd have to fix the first half and then fix the second half separately so instead just leave him alone as long as they're not totally messed up I was looking at the light the light look great and you notice when I made the adjustment you can see we got this beautiful light on her face so the light was there it's just my cameras just a little bit about two thirds underexposed so it's better to leave it alone if it's close enough and then adjust it later otherwise you got every shot is a different exposure and you have to adjust exposures individually in post production and that is a killer of your time

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.