Preparation Shots

 

Wedding Photography Weekend

 

Lesson Info

Preparation Shots

so now we're gonna talk through just some preparation shots different shots of what we're shooting what we're thinking and so typically when we walk in to the er getting ready you know the client's haven't seen us maybe in a couple of weeks we're trying to have dinner with them actually a couple of weeks before the wedding but we show up and they're probably very nervous and there's brides maids who probably haven't met drew zeman we probably haven't met so what we don't want to do is come in guns blazing you know we got like cameras on our giant flashes stuff hanging off us and an assistant we walk in and everybody gets real nervous real fast and that's how they feel on my gosh I hope I look good in my pictures all they're thinking you have to think about like the wedding party see like all the girls they had not met you more than likely unless you came to rehearsal so the first introduction to use your like camera ninja and it's like he and remember we want to connect we want to make...

personal connections with people and we don't want to just be all like well with my camera so I'll come in I'll have my maybe my camera hanging around me with my strap that we use and it's just hanging down and my hands are free and I'm like hey so excited I got to the brad I'm like are you doing you look great and just make that personal connection and the bride's maid see how I'm relating to the photographer all of a sudden they don't necessarily see me as a hired help anymore they're like oh this is different and that's what we want to be communicating to everyone at the wedding is were not just the hired help were giving you a really great experience did you guys have questions actually I do meet each shot opportunity was a meter shot right yeah do you mean each shot I mean shots from the camera or from the flash and you also had a light meter I saw hold up from your gear back yeah we're gonna get in we're going to get into that question pretty and because it's a pretty in depth question I think we're going to get into that morning definitely coming up so to answer it briefly we use a meter on lee when we're doing strobe and every single shot that we're taking were always checking our exposure yes we'll show you how we do that when we're shooting with and it's mostly manual almost all the time so we'll get into more of like how to use of that coming up so just from her audio if we if we do weddings at night if we turn off the rooms in the light howto wish what do we shoot it and so you're going to tell you that that exactly that's when you're working with no light situations where you need teo be working with flash extensively we're gonna talk about that a lot tomorrow okay be here tomorrow way don't touch on that week because if it is pitch black okay we want the room lights on we will use their flash well actually match the color of the flash to the color of the room something when I saw those were simply gonna overpower those ambient life so they become a fill light for so again we walk in no guns blazing and then at that point instead of starting to photograph people we start photographing details because it makes it seem like the photography already started it's been really easy so far and the details are sitting around so now we can grab choose or cufflinks or ties or dresses and start photographing those things so we take about fifteen minutes or twenty minutes we scheduled the day that way we start photographing those things this is the situation this is one of the easiest ways a photograph address find a great backlight hanging up take a photograph of it always looks really awesome we got this beautiful bright light shooting through the back this has taken that was taken with the sixteen thirty five ones this was shot with the eighty five l this image was the place they were having their reception at which was herman's trading post which is a really cool venue so we thought hey let's take it outside it's a beautiful light outside behind the dress up and then we shot that with that in the image to make for a memorable so here's an example of a shoe shop that I did and you can see the light coming in so essentially what we'll do for shots like these is I'll find a really cool looking chair and then I'll position in about forty five degrees to the window like to get some really nice it's like hitting it and I actually use one hundred millimeter macro highlighted here shadow highlights and another little trick that will do too sometimes you get in certain situations where you put the shoes next some beautiful window light he put him about forty five degrees and you taken image and you realize it's really bright on this side still but it's very very dark on the other side because sometimes depending on what you sit your shoes on if you put it on a dark chairs going to soak up a lot of that light so the shadow side could be a lot more shadow that you want so sometimes what we'll do is we'll grab a reflector out of our bag we always have some reflectors with us or if a white pillow or anything around that's reflective white or even something that's called reflect contrast he likes something silvery and well push it right up next to the shadow side so here's our window light we'll put a reflector on the op society sort of fill in the shadows and that's actually what we did with that image right there we filled in the shadows on the other side of made for really dynamic and you may be thinking oh my gosh it's a lot of work for a shoe shop why don't you just go in a photo shop just like god but the thing that we didn't mention earlier is we are all about doing putting more effort in to shooting too when we're shooting so then on the tail and we don't have a lot of to spend a lot of time pose and that's really big for us because we love shooting we love growing our business you love having days and we don't want to spend our lives living behind a computer so if we can put more effort into making these shots amazing on the front end then we had way spent about an hour and a half to two hours actually editing our pictures so to think that I'm not gonna put a reflector in and that's going to turn into eight hours or ten hours or twenty hours and some people out there going I am twenty hours help me like that's gonna rock your world when you start doing these little things so much yeah it's another great example you know joanie was wear at a wedding it was raining out but we had some beautiful light being pushed in under this overhang outside so she went out you sort of the lines of the heels on line them up with lines you know on this rail and we get this really beautiful shu shot yes I was afraid it would balance and chewing gum holding it if there's anything unique to that client try to incorporate into the wedding you know this guy got an armani tux so I made sure that that was showing you know because it's like he was proud of the fact that he's wearing this armani tux they obviously spent a lot of money on it so I'm gonna make sure it's in the image so again this is just window light hanging on the door and we moved it to forty five degrees to the light source real simple to do same thing here again we have shot an indian wedding this year this past year and they had a lot of detail stuff so we put the hat up on this really dynamic chair forty five degrees to the window I think I used a little pillow for a fill light on this because it was getting very dark on the left side bam very simple and easy to do same thing here photographing the shoe's throw on a tie on top of it just to make it look interesting and then once now we're done shooting those details now we can go in and start photographing our clients so here's miss scarlett and what I love about her makeup artist and she had her position toward the window like which was great it was a little dark in that room those so so for a couple of shots I didn't bust out the flash but we have this great light and then we're just shooting you know the details of the makeup getting ready and something to think about too often times the brides aren't really thinking about how they look for some reason like scarlett was great because her and her husband are photographers so like awesome so she was very aware of how she looked but sometimes bride there like and and so a picture like you're getting married today and then she's like uh oh yeah that's right you know I'll be like all right nice faces even from the makeup artist she's like I don't know so sometimes will coach them along with their facial expressions to make sure that and again he did look again you can see scarlett has let straight on here but she's an exception she's a very thin great skin super pretty amazing makeup that day so she can be lit that way and look fantastic yeah so here's an example of when I used the twenty four to seventy so I pulled back so I could show the moment that's happening with the girls and I naturally like a sheet and really tight but there's so many moments that happened wide and that's one reason why I love the twenty four to seventy so much while getting ready because I'm ableto get in those tight moments that are going on but then pull back and show this story of what's going on absolutely and then again this is using the fifty millimeter uh one four I believe just getting in really tight finding a little sliver of light coming through a contrast decide you know we have a small window to camera right um and just capturing that little detail of the back of the dress for the quick and sometimes these air very hard shots to do you'll snap off ten of these to make sure one's unfocused but and we'll do that we'll say hey stand there one more time you know put your hands up on the dress or do that top button one more time in case I missed the shot and sometimes we'll do a little coaching to make sure we nailed that u know sometimes they're six people standing around we say hey can mom do it just for one second you know do the last but and then we just have mom in the shot yeah you shoot like ten images and you know some of them are blurry do you just let them go or d delete them as you go preaches we do a bit of editing on the fly you um don't necessarily recommend it some depending on what camera used some old cameras used to have delete all like right on the main menu I think they've now gotten rid of that option on most of the canon cameras at least it's always you know tricky editing on the fly because an image two and a half inches looks one way and then when you see it full size it looks in underway so sometimes it's better to just leave them all on there just in case and it's good to know what mistakes you're making and what you're not in review when you're back home calling through the images so I think it is important to not end it on the fly as much even though I do e moments what's going on you know oftentimes you know you'll see people when they're down there and then there's like this great moment going buying like you're not catching that you know so you know we always want to be aware of what's going on yeah if it's a truly terrible shot and you're driving from the you know wedding to the reception and you have time to delete a few should not ok with your clients zack do you normally go with the guys jodi are you normally with the girls do ever switch are you both in the same room together good question it's pretty standard that zach and I split up so I for the most part will tackle all of the girls getting ready stuff and then zap tackle all the guy's stuff sometimes they don't care about the guy's giving ready and then so that priests both of us to shoot the gals since I'm exactly take the dress or take the details I'm just focusing on moments but for normal weddings you tackle the guys zach tackles the girls and then he reversed attack of the girl's zach tech and then they come together for the rest of the day tissue thank you okay so this shot is a great example of I'm using the twenty four to seventy so I'm getting and really tight to kind of just show the moment of the mom and the daughter and notice how you have this light on her on her left side but then here it's really dark the room just kind of falls into shadows so this is what I was talking about earlier where it's something you put them really close to the window and exposed for their face the rest just kind of falls in the shadow and then it's more about the moment that's happening to you and so as opposed to this next shot you know we had the bride pull a little bit away and so I can come show the story of the bride's maid getting your shoes on and kind of showing the room that they're in absolutely this is an image that I actually took it a wedding a long time ago back in two thousand eight this bride was all about her shoes she even bought a dress that showed off her shoes twenty four seven minutes you khun c s o the mother was actually buttoning up the back of the dress and I just peeked down for a second I actually just bounced my flash off the right wall because there was no light down there and I didn't want to change my entire exposure and I fired flash off forty five degrees into the wall actually ninety he's in the wall and brought it back to this cool she shouts it's her mother standing behind her and there's a guy to the right which is actually her best man our best bridesmaid man something one of those man made thing on this next shot is a great example of there's often so many moments that are happening around the bride and sometimes and so focus on the bride that I missed those moments like all right so it's a conscious effort for myself to remind myself hey make sure to shoot the other stories that are going on so this was the wedding we had this summer you know the flower girl and the ring bear we're kind of just goofing on the couch was actually really cute cause they were playing on their ipads and I thought it was adorable and then the mom sees me to go in and take a photo and she's like takes those out pretty him up and she's like no smile and I'm like no but so then I told them to make I like to be goofy just make faces at me and then I got this you know fresh moment from them I've just been having fun goofing off so we're gonna pick up the pace just a little bit clicking to use images because I know where we don't want to get straggling behind here so sometimes we're not always around with the guys you know this early but sometimes when there are and they're comfortable you know this guy obviously he's got he's going so he doesn't mind getting shot like this taken many grooms would be very opposed to a shot like that but he was down at that come get a shot of me while you know razor in my face even images like this that sometimes people go that's not an amazing image it's amazing to them because they got ready at the hut hotel and they were all sitting around drinking a beer so this is a memory for them this is a very important match for that family and this actually get up in their album um same thing like this the little details dad putting on the cuff links you know very important those they're kind of the go two shots that were trying to capture images like this completely staged um the groom was going to get his coat on but I said hey can you get your coat on can you stand right there can you face that direction and he was like sure so he's put his coat on like I do you look like and the funny thing was is I was back coaching it we're friends at this point because we build a lot of relation with the client and I said and he was kind of just you know he had one of those faces like that's what people do when they put their coat on and I was like dude you look like a rock star and he smiled and laughed and then gave me this nice little smirk as he did the cuff I jumped into the bathroom shot through the doors with the ambient light on in the bathroom but off everywhere else and got this great sort of peering in image of the groom same thing here we usually try to grab a quick portrait if they're standing in good light they just got ready take a portrait of him so stephen here we were shooting their wedding he just got done getting ready I told him to come stand here to get ready because this is where the great light I said do you look out the window dude you are a freaking rock star you look amazing that's so much money and he was like boom get this great shot and then pull him quick for detail get a great detail of the tie this is very important to them the colors that wedding this kind of thing and you know I'll do the same thing with the women this was taken an exact same window area that she was getting ready and she's getting button up and everything in it just like you know I always loved getting the bride and grabbing at that moment you know I just asked her to look down find a way that makes her look her best and then it just shoot shot right there in front of the windows any woman looks good shooting down for a head shot because of de emphasizes everything underneath looks absolutely awesome a couple more guys shot same thing here sand from the window light and I'm like dude that looks amazing where you're throwing your coat on button and I'm like look out the window real quick so he looks out the window boom I grab this shot of him and then I just pulled in real close to get a portrait of him really

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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