Wedding Photography Weekend

Lesson 13 of 49

Outdoor Shoot: First Look


Wedding Photography Weekend

Lesson 13 of 49

Outdoor Shoot: First Look


Lesson Info

Outdoor Shoot: First Look

all right so we're about to do the first look where are bride and groom see each other for the first time and so zack what kind of walk through why we chose this area yeah this beautiful beautiful area right here so uh even threw out scouting of his back and forth we came out here to days ago and seattle's known for being overcast in january and we have sunny blue skies which is a rarity so even even though we scouted it did us no good because the situation continually changing the lighting change um so we found one spot of open shade which is right here it's not very long but it's just enough to where the bride can sort of come around the corner and see the groom for the first time so just emphasize again open shade of c we're in shape we're standing in the shade but we can look up we can see this guy opened so the other awesome thing about this area is even though the sun is still in a pretty like mischievous spot in the sky it's still really contrast e we're in this shade and we act...

ually have the sun hitting as you can see this uh cream colored wall to my right so it's adding all this extra light and adding a nice catch light in the eyes so I'd have the groom standing here with his back to the bride she walks up we have all this light being forced in this direction plus we have a lot of fill light kind of bouncing off around the atmosphere out here so this ends up being as you can see my hand um a really great spot toe light people so I've sort of instructed the groom I said hey stand right here I'll kind of give you the nod and when the bride is ready you turn around look at her but when you go up to her stand this way so when that were photographing then we still have that great light hitting them if they were to turn this way and she was here their faces would be incomplete shadow if they don't do it when it actually happens so what well still photograph it it will be amazing and the thing is is like this is their moment like this is probably the most exciting part of the day that they look afford to if they've decided to see each other beforehand all of our couples do and we don't want to over complicate things be like okay make sure you're at a ninety do three degree angle or forty feet you know like we just want to keep it really simple you know just like she'll come up you can turn your back around when I'm not in try and face this way we can you know just keep it very simple and then we always tell them enjoy your moment of seeing each other and then when you guys already will start taking the portrait yeah and this is a great opportunity for them you know to see each other and have a moment together because they don't really get that at the isle you know everybody's staring at them and now sayer bows you know so this is a really cool you know thing that a lot of couples start to dio but we live in nashville so I would probably say maybe only thirty percent of our clients actually do this because they're very traditional in the south but we do do the first look you know maybe about thirty percent of the time so so often times when we do a first look I am with the bride and so I am walking up the bride so what I'll have zack do is I'll have them read off to mia's camera settings so I'll let her walk ahead of me and I'll set my camera and then I'll start shooting immediately so we're in a situation here where we both can stop grab our camera setting so essentially what we did is we took our little excellent disks out this is the light that were gonna be shooting this is where the light's coming from side just pointed my exodus in this general area cause I'm gonna be shooting from there and I got my exposure I got my white balance I said it so now it's gonna be suppose for their faces when they see jodie's shooting from that perspective so she needs the color and exposure from that perspective of the camera so she pointed her expo disc in that direction I'm shooting from this direction so I simply took an exposure in an expo disc shot in this direction and it came out I wanted to shoot it out too because I want this to be a very like just the two of them sort of popping out of the moment and that came out at one five hundredth of a second and I s o one hundred another thing to point out as we're shooting on servo motors the bride and groom are going to be moving and walking and I'm gonna pan between the bride the groom was going to be stagnant and then the bride who's walking so I need to be able to track her as she moves I moved immediately to a I serve oh there's a servo eh I focus on one shot we never use a I uh focus because it's really really inaccurate for some reason and actually if you buy the one d s mark three and I'm assuming the new one x it only has a eye serval in one shot all the other lower end cameras have the aye aye sir are they I focus I'm not sure why it's just it's a generic feature that doesn't seem to work too well so aye aye servo just continually track so I'll have to do is you know press down my focus button and then go ahead and take the image as soon as I feel like I'm in focus and I'll well actually shoot a lot more than we need to because people are moving its action there's moments happening and the cameras you know it can be in and out of focus we want to make sure we're capturing every single moment that's going on at this time in a little nugget um f y I the other times that we use a servo you know when our tracking people as they move is during the processional and recessional we also use a servant at that point of the day other than that we're often just on one shot all right all right so let's bring out our writing room so uh let's have lauren and ron ory come alright so normally wouldn't both bring him out so lauren looks just so it wasn't that amazing don't forget to smile so we're pretending our bride is like getting ready somewhere back there so zack will kind of walk through what he's going to tell her groom and what I'll tell the bride is all right corey is down there you know he's waiting for you they're ready for us to just walk up to him enjoy your time with each other and then we guys arabi shoot photos will start your portrait so yeah usually what I tell the groom is all you got to do is face me this way you can throw your hands in your pockets if you want to you know look kind of cool leaning on one leg when she gets close enough I'll give you like a little nod and you can turn around and meet her kind of in the middle so the great thing about that as he turns around and sees her and we get a shot of his face and I get a shot of the bride space at the same time if we have to come up and tap and he turns around sometimes their faces get blocked so it's a little better tohave turn around and sort of walk and meet her um so that's that's basically what we're doing so I'm gonna pull back you ready copy that copy that you ready stopping so I'm gonna pull back and I purposely actually put the groom toe one side so I can see the bride as she makes the corner she was standing right in the middle she may walk up behind him and b totally blocked nothing to keep in mind is notice we're standing out in the sun and he's in the shade so we purposely put our lens hood's on so we don't have to deal with too much flair we want to make sure we can stay in focus so I'm gonna pull back here and he usually all kind of radio jody and say ok he's in position and I think I'm ready to go I'll take a quick test shot make sure and hang on for some reason my camera is not functioning and it has to do with me being plugged in and I'm assuming so let me make sure it's working here okay there we go awesome just double checking my exposure we're ready to rock so jody can go ahead and said the bride whenever you're ready all right and I'm like cory don't forget to smile she looks so hot you're gonna freak when you see her so now we're just patiently waiting for the bride and then he's khun spin around and check her out they're going to come close together awesome forehead to forehead no she may like you know decided I'm gonna let him take a look at how amazing I look so she can step back and do that awesome super cool and bam that's really the first look and then we let them kind of stand there as long as they want saying oh my gosh you look amazing sometimes couples will start crying you know sometimes you know this this may not happen right now I don't I don't think it will happen I would have shot some more but my camera's busy doing something I'm not sure what um but I think we got amazing shots during that little session so that's basically what we do and then at that point as soon as they kind of give us the nod and say hey let's shoot some pictures they're already standing in great light we'd start photographing them standing right here because we have this beautiful light looking grab reflector make a look even better so I think that's what we're gonna do you guys do it that was awesome by the way holy crap dang you guys rock so I'm sort of just taking a look back at my images seen what I got and it looks great just what I wanted shots of the bride and shots of the groom supercool yes awesome okay way we have some questions from the crowd and we do have some questions okay people have been asking like all day long can you tell us about your hand strap yes this is just the cannon uh I think it's called the e one hand strap and it's really awesome you know usually use it in tandem with the uh the black rapid strap we took him off because it was interfering with the mikes but yeah this is great because it just makes your camera for you a lot more secure to your hand so we have him on all the time and there's just a lot more comfortable and it takes a lot of stress off of your fingertips and puts it on to the base of your hand so carrying your heavy camera around all day doesn't make it feel quite as having actually shoot a lot of the reception with one hand like this and I got a flash sometimes in this hand depending on the scenario so this actually adds a lot of support which is really really nice great thank you any other questions I'm just another one at from s steff l he's wondering how you choose what I s o t use outside awesome questions so usually outside for the most part even if it's a cloudy day we can shoot it s a one hundred as long as you like shooting wide open to o two eight the only time I'll change my eyes so as we go down that same scenario I choose what I saw I want to shoot at uh sorry she's what aperture I want to shoot at I make sure my shutter speed us fascinate to accommodate the lens I have on then I boost my eyes so into the correct exposure and when I'm outside usually at hundred in rare occasions is very dark and maybe two hundred but even inside when we were shooting in the window light upstairs I think for a while I was shooting at two point oh or one point eight at like two hundred s so so it was pretty dark in there and I was getting away with that that low of an esso because my lenses so fast having really fast lenses great because allows you to shoot wide open which people really love and it also allows our s o to stay very very very low great thanks questions yes sweet we have a question that was was a dire question up there and that was back to the expo disc people were just a little bit confused and if you could clarify again if you're using the expo dicks for exposure and white balance or just for white balance for both okay for both and you don't have to use it for both um there's many other ways to get a correct exposure using the camera meter but the biggest thing to remember when you're using um anything for exposure is you're using in a any kind of modern camera instead of using a real meter like a handheld meter which is called an incident light meter that means it's a meter that actually records actual light the meter and here is a reflective light meter everybody understand how the reflective light meter works it works on light bouncing off of something the problem with the reflected light meter is light bounces off different colors and different sources at different brightness is so for example like way have korean lauren standing here perfect and the light is hitting both of them the same the exposure is exactly the same right but if you point your camera to cory it's gonna be like whoa it's really dark but then if you point your camera toe lauren it's gonna be like oh it's really bright so it's inaccurate because much more light is bouncing off of this white and much less light is bouncing off of this dark so the main thing we want to do when we're overriding the flaws of that reflective white meat because it's a very flawed system is we want to give it something consistent expo disc when you put it on let's the exact same amount of light come through all the time eighteen percent gray and the meter is designed to say zero when eighteen percent gray's achieved once it's inconsistent with bright dark bright dark bright dark that's when the camera meter goes like this and you're you're pressing buttons and sitting around guessing half the day to get your exposures next is a question from nikon rick and he's wondering I have the groom come out to meet the bride doesn't really matter which one comes out like on rick shoot michael what was the question of the groom come up it doesn't matter which person comes out you know the right of the gram first I think it's easier for a groom to stand there and do nothing and be a prop for the broad I think a girl usually looks better moving walking smiling talking doing anything so when I have an important action that I want somebody look good in it's way easier for the bride to do it so that's probably why we have the bride do it and I think it's a big reveal the biggest reveals not the grim look looks like like who cares you know it's like what the bride looks like since the thing this guy so the groom was walking out to the bride that he's already seeing her and she's totally missing his face of him seeing her from the back so true true I think it looks better with the bride coming up but do it do it a different one every night I have a question from jail seven photography and we're not doing a group shot that I know of here no but when you are doing group shots of the family and or the bridal party do you take the time to pose each person in a flattering way and how long does it normally take you to set up wait do and we do it in the most simplest way possible we actually all right let's have our bride and groom so what we do here is we have this light reflecting off right we talked about reflective light so we're going to position our family towards the light because we want good light because that's let's have our students let's do the forty five greens okay or we could do forty five whatever we'll have you guys just stand like okay so we have a bridegroom the students will stand as our family if you guys don't mind so what I'll do and we'll talk on sunday about how you like organized the shots that I'll be like all right mom come on up and so we tell her bright and graham because countries facing that way sorry I think it's better okay okay so tell him writing room and zach and I modeled farmer like alright turn in towards each other you guys we're just gonna stay like that the whole time perfect okay so then we say mom come on up here that was just talk their shoulder behind come on dad chris get up here and we'll have dad will put you on the boys side you guys have kids so wait just tuck your shoulder right behind his and I try not to touch them and get all over them you know like just talking a little bit perfect perfect tuck it in tuck on in oh great all right sam scoot back just a little bit perfect and you know what we'll do is we'll tell the ladies ladies point your toes towards the bride lean on your back leg put all your weight on your back leg perfect and then turn your shoulders back to me a little and that makes them look great cause they lean back they'd turn their shoulders they got a nice turn twist tilt which isn't I'd say dad you know step back a little bit more don't be afraid to get close scooch on in scooch on and great and so now we have this awesome reflected light hitting everyone's faces and they all look great yeah and everybody looks really good we don't overdo it because we don't have a lot of time you know to sit here and pose family and make everybody looks so unique but for you know doing that kind of simple process turning towards the ron turner shoulders back everybody looks fantastic all right let's um let's waken take a couple more questions we can move on okay all right so let's put the boot in iran and so all right all right so often times um putting on the boot near is a great shot special when you destroyed awesome is a great shot so I will be the florist and zach you could be the photographer directing us so we're already in some pretty good light so we might as well just go ahead and put it on right there but okay so what I was going to say is if the light's crappy we'll be like oh turn a little bit this way so perfect and so then as the person is putting on the boutte near we get some really nice late this's one massive pin to trust you we're looking out that way cory perfect I did it because his chin was kind of down and we didn't want like any of that action so I was like hey look out that way streams of straight out ban and also you see the difference between those two shots now suddenly got this great image of him getting the boot near put on he looks super cool and I just want that detail to throw in the album somewhere and I don't need fifty shots of his face like but my dear I don't need a great close up detail and notice the light here isn't changing so we're on manual and were shooting all the shots just looked great because it's consistent lighting and we already have a camera set for the color and we already have it set for the exposure

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.