Wedding Photography Weekend

Lesson 17 of 49

Reviewing Images

 

Wedding Photography Weekend

Lesson 17 of 49

Reviewing Images

 

Lesson Info

Reviewing Images

so we're gonna start clicking through these bad boys and here's one of the very first images that we shot our amazing bride was just kind of chill in there waiting for us to sort of set up the first makeup shot line peaked around someone's back and I just snapped a quick photo to check the lighting to see I was looking I do that a lot if people are sort of standing around on my snap a quick photo just to see is the lighting moving in the direction I wanted to and as you can see we have this beautiful highlight shadow side of the face beautiful boca in the background I think I shot this at f too and it was looking really really really gorgeous so we're like this is great this is right where we want it now let's start shooting I take that took that when you do I'm river every photo I took almost go ahead that's your phone so this is you know when we started shooting the bright and he talked about yesterday adding layers to a photo and I love this because it just gives the photo more dept...

h of love from you in such a way when you see a little bit of the make up artist and then you see our bride getting her makeup on and you know oftentimes it's really hard for them to get nice faces so taken example at the next shot you know often times you know their faces just like this is they're getting lips on so I'll be like nice spaces where you're getting married today and I'll get her to smile again and obviously lawrence just great and she's pretty natural in front of the camera and I also love instructing our brian and they just look down with your eyes and I love just getting the eyelashes part of my favorite thing and then just another shot trying to frame it up differently just a little bit of variety for the album are some something a little more artistic you know kind of cutting a little bit of face off with a vignette there another thing to remember too that I think is really interesting are really important to do is we try not to shoot the bride before she has any foundation or anything on because we're probably gonna have to retouch that and she's probably going to super excited about it so usually we wait until it's the final touches you even say that our contract final touches of makeup so she's getting her lipstick on the final bits of eye shadow she already looks really really beautiful she feels comfortable and then we start photographing and we've got the eye shadow we've got the lipstick and she looks very put together and then when we show her one of those images she's like hey we don't have to go in and sort of you know fix the scan or anything like that later on and so then I want to pull back and I kind of want to show this story of what's going on and it's actually really cool to have you're fab shot it looks like a rock star and it's so great to just tell the story I'd love just sitting back shots and this was the exact same spoke exposure that I was shooting on for the previous images they didn't have to change anything because it was set for the light that was coming in and hitting her so just getting back telling the story and then of course I'd love to get in close and tell the close up story because I liked you in that and that's really awesome you know you get this nice framing and the bride getting our makeup on and this is a great memory for her to her getting ready for her wedding day and you can see these on our new facebook pages well we put a highlight of these so if you want to look at them longer than you can so we simply kept that sort of forty five degree turn to the shadows are to the window light like that we were able to capture this great little detail shot of getting the dress put on that jodi did I pulled back and grabbed a few of these images of the bride full length a lot of times we're not in rooms where this is possible um and I actually switched over to the fifty millimeters so I was able to get these but pulling images like this is really really awesome and these you can see just how gorgeous remember not having are too close to the light source on the wise she'd be super bright and our makeup artist or mom or whoever's back there would be in the pitch black we pull him back enough and you can see that beautiful grady it on the wall behind her and actually love using a very plain background we will purposely move step out of the way unless it's a gorgeous room there's usually just rooms just kind of looked like there's a bunch of junk in um most people are professional decorators at their houses and who should we try to just find a nice plain wall in order to utilize that as a beautiful backdrop because really it's about the bride you know we want to showcase the bride and not showcase the stuff hanging all over the walls or on the floor again don't be afraid to tell you right hey look down or look out the window and just give those suggestions and then she'll love you for it because it just makes her look all the more beautiful and so this is a shot you know I mentioned that when the bride is getting an address I love standing on a chair in shooting here and I could get in really tight with my twenty four to seventy millimeter linds and I can pull back as well so this is a shot that I just took of her looking down and I know some people are like twenty points seventeen at lin stinks and as you can see that I mean it's gorgeous super sharp that's a two point eight looks amazing how sharp does it need to be we didn't sharpen these at all by the way we don't sharpen any more photos um and it just looks absolutely fantastic so a couple more detail shots grabbing shot of a bracelet of the back of her dress really quick these all took just a matter of seconds um and then another portrait you know from high up black and white beautiful just really showcasing her eye shadow which I think looks gorgeous so go back one really quick so lauren's armor can I talked yesterday about opposing our bride lauren because she didn't have a strapless dress squeezing what was going on here she didn't have any like overhang but kind of like I mentioned yesterday I want to mention again like this shot looks beautiful but if she had some of that action happening with the little flub coming over she wouldn't have liked it so again in that case I would have been like go ahead and put your shoulder back and all of a sudden that stretches out what's here and city leave today so then we have the piano kind of a beautiful props it in the room and jody and actually we showed it yesterday we had a bride was shot in her house and she had a piano on her room was with some window light we did a similar shot so we just simply placed her there and you know this from the opposing perspective I actually took a number of different images because I was trying to get her to look a certain way which was member that attorney twisted guilty bride looks great so I have actually leaning away from and the light with her shoulders but then put pushing her head sort of back so we'd get this nice s curve in her body like that and women look more flattering they look more slender even though I'm shooting her pretty straight on the light's coming in from that one side which de emphasizes the but camera left side of her or her right side of her body and she just looks gorgeous I got really low for one and I kind of like this lead in with the reflection on the ground and these air pretty much completely minimal editing I literally click one button for editing and just turned it back into a j peg and that's what you're seeing here so I haven't done any if you do you're totally rad actions and you like all the scratchy effects or whatever you could do that at this point but you can see how beautiful and simple and elegant really for us jodi and I we want to take cool modern images but we also want to be timeless and last the test of time so that's why we keep editing to a very minimal then we hopped over to the groove who uh awesome apparently he looks like who again matthew mcconaughey look alike right here in the ride let yesterday she was like I couldn't marry matthew mcconaughey today so he's a super stud looks really really cool I love his scruff scruffy beard looks great we just had him hey adjust your tie put your tie up and he did that look out the window boom we got a great shot of him I panned down really fast for a quick detail shot which looks great as a supplement terry image in an album pulled in really quick quick quick fart you quick okay all right let's not embarrass herself so I panned down really quick um actually very important to a lot of times I won't shoot down necessarily unless I want an interesting angle but I want himto look full and tall so I moved down I'm at the height of his cuff as I'm shooting because I wanted to look full on natural that's a kind of a good thing to point out any time you want somebody to look natural whatever is in the center of your frame that's where you should be from camera heights if you're shooting full length you should be at their waste to make them look natural if I'm shooting that part of the frame my camera should be in the dead center to make them look natural same thing here actually got this nice little candid of him throwing the code on really fast as he was sort of fluffing the coat to put it on some of them looked really bad or his face looks funny or the coat looked funny but this one turned out great so she pretty quick as he's put a coat on click click click click click waiting for a great little action kind of candid and then I said hey oh while you're tying it look over here at me real quick he did whom we get this great you know beautiful shot that if this was a groom to be the bride would love something like that he's putting his jacket on he's got this nice little smile on his face her heart is melting and then I wanted to get a real masculine shot this guy's got a great chin let's show it off so I had him sit down really quick guys the first shot to do with the guys that they simply sit down and lean on their elbows every guy's comfortable doing that for the most part and I got him to do that look out the window he looked fantastic then judy came in which is great to get a few more close ups which I always like jodie getting in close because it's just more comfortable having a girl in your face when you're a guy and then she had him do this nice little kind of quirky shot where he was looking down and actually really love this image he just looks kind of like he's just contemplating and preparing for the day and a real groom probably would have been doing that well and I we were chatting and we kind of had left him and then I looked back and I saw how he was just casually leaning like that and oftentimes people will let down their guard when they think you're not paying attention and so that's when I came back and I snapped a shot of them then it's like I look down at your hands too so you can get some really cool where that you feel more natural when you kind of ignored them for a second and they think you're not paying attention yeah sometimes the most amazing images are the ones where they start to forget that the camera's there and they really become themselves and those are the ones that we love more than anything it's those are the hardest ones to get because you've got these giant cameras on their face all day but sometimes they find they let down their guard and they have that riel great expression on their face and that's what we love when we walked outside we're going to start shooting the first look I grabbed a quick portrait of the bride as she was going back you know to walk around the corner before the groom came out and then we started the first look we put them in this area because I had the best lighting and the most simple background because we want it to be about the two of them and not about if if they were married in front of a huge mansion and we had beautiful light in front of this huge mansion and everything was the perfect time of day we would've shit showcased it but in this case as you guys are all standing out there we had super bright super contrast e to thirty son you know the worst time to shoot and it's in seattle and we had son oh my goodness so the sun is blaring downs we move them into this open shade just in front of the groom on one side he had a big bright reflective wall pushing light is a fill light we have the rest of the sun bouncing off the atmosphere and pushing in and we got a nice even exposure on him and on her so this is axe camera so there's my camera switching from a focus on him now don't focus on her and we get this great expression these guys aren't even getting married we got this expression on imagine if they're getting married how much better it's gonna be way got this great expression and then jodie shooting into the sun side he turns around and she she gets this amazing shot of him just looking he looks so excited I think they may go on a date wait I think they're both singles made on train on line we'll shoot their real wedding when they get to live uh something I want to point out here is you know zack said I'm shooting into the sun so to clarify what exactly is going on here both of these guys are in the shade but what's in the background the sun is hitting that so it's being blown out so if we were shooting on an auto mode our camera we talked about our camera um it read the meter just read the light that's reflecting in it so it would see all this bright light and it would it would under expose it so their faces would be dark if not black so what I did before him and we always do this when we're getting set up tio first look is I if I can I'll go in that area I'll get my exposure and I'll set it in my camera and then I'm on manual and I'm shooting it so I know the exposures that their face the backgrounds blown out but that's ok it's about them and we want their faces that's most important sometimes like you said yesterday I'm coming in with the bride so I haven't been there so on our littlest six service here pieces zach will read off to me what the exposure settings are so then I'll just be ready to go and I can pick up my camera and shoot and ultimately there's really two types of ratios of light that jodi and I are looking for most of time one is this which is called lower key lighting we have a client who's face is the brightest part of the image there facing their bodies are the brightest thing the backgrounds darker so you're I automatically goes to the anomaly the brightest part of the image which is hopefully their faces and you looked right at her very quickly this on the other hand is a high key image we're now they're the darkest part of the image in the background is very bright so the key to high key images is making sure there isn't like a very dark area in the background somewhere maybe there was a shade in tree so jodie purposely framed this up to make sure everything in the backgrounds bright except the two of them and then we get this great high key shot where your eye goes right to his face really really quickly so then they move together oh my gosh thank you we got this great little shot of them here's what I got from the front um really really cool just kind of showing the trees in the background then we did a fake little put on the boot near and he was already standing in great lights all we had to do is make sure he was turned into that light source put it on and photograph it really quick and those air jodie's hands actually jody's put on many boot nears that winning's for us because people don't know how to do it so that's great then as we mentioned he always loved to start our portrait's off with a couple walking because it's something super easy for them and it often leads it helps them to let down their guard and as you can see as we scroll through these images there's a first time we've ever worked with these guys first time we've really photograph them together and they barely know each other and doing a walking shot you can see look at the expressions were able to get from these guys capturing little details as they're walking using that same light source because it was so easy to shoot and we get these beautiful expressions coming on and they're very natural they were having fun they came up to us afterwards they said man I was having such a great time with you guys I was like thank you like that's a huge compliment that they had fun getting photographed in front of thousands thousands of people are freezing cold freezing cold and then jodie she mentioned earlier she ran outside got into the sun to do some flair we put the reflector up nice and high the center of the reflector above the center of the eyes and we've got these great flair shots so these were really really beautiful I love the flare shooting down over the top of their heads looks great sometimes if that flares coming between the two of their faces that can sort of washed their faces out but I like it either coming over a shoulder like that or coming over the top of their heads is kind of a better way to have that letter coming so then we simply move them back to that great area to do some portrait it's so you put them together we got the bride looking at the camera groom looking at her and we always tell them close uncomfortably close krasae close honeymoon baby close as close as possible we love them to be very close so we've got a nice shot of the groom or jody took this while the groom was looking at me then we got a great portrait of the two of them looking at the camera then we sat them down really quick to get some candids and this is usually a fun time they're sitting it's a little more comfortable we pushed them close together and as you can see a couple that's known each other for an hour and a half they're having a fun time laughing giggling together getting these great portrait ce they look amazing yeah question his shirt it looks a little bit blue do you do anything about that or do you just well I think in this particular situation we're dealing with an interesting mix of light because we had actually a mixed lighting situation as you call it where we had um light bouncing off the sky to the camera right which is hitting the broad on the left side of the bride space then we had another light source which was this kind of funky colored wall but the sun was bouncing off up and kicking and as a fill light and then the groom also was being shaded extra shade by the bride which is gonna cool that color of light around him so if you look up at the top left of the from the cameras perspective for the top right of his collar is white and then as it goes down further the color starts to shift into a little bit of a blue so that's something yes you can go in if you wanted to because a mixed lighting situation there is no correct like we have two different color light sources in effect here so what you could do is turn a black and white but you notice we have great call around her face or face or teeth or nice and white lips look nice and red the color is correct on her face that's what I'm most concerned about so I could go in and like adjust the shadow uh colors and play around with images like this until it was perfect but that's something that's so subtle nobody would ever care about you know that slight blue hue and to me it looks natural because it's going into deeper shade which changes things into the blue spectrum so to me I'm totally fine with it but again if you wanted to spend time on it you could tweet that if you wanted yeah from the question from the internet does that ever influence you know changing to a black and white photo when you have those mixed color of light great question we proved most every single thing in color unless that anomaly of color is affecting their skin so if their skin looks nice and natural that's what I'm most concerned about everything else is secondary but if their skin just cannot get correct because we had an orange light and a green light shooting you know from one side of the other there is no other place to shoot I may turn that black and white and try to tell them hey this would look great in black and white and the biggest thing to remember is we heard this from I think david j back in two thousand eight and he said learned except greatness and not perfection sense photographers like to go in and be like what's slightly blue and there's this little hair and we spend all of our time okay so savers than an extra half hour on that one image there's eight hundred images in a wedding the bride doesn't like your face right and then how many of those are actually going to get printed and this is a great shot it's great may be its not perfect because of that but they would never notice that clients like quality content content not quality so something I think that we would do if you're very particular for something very particular you can't let being so particular make your business not viable not ableto run because you spend so much time editing your photos but at the same time if the client loves this image and they're going to get a canvas of it they're going to buy it from us or if they're gonna print it in their album go ahead at that point okay I know it's going in the album I can spend two minutes and do an extra tweak on that but to me he's thinking about spending two extra minutes on a photo is like that's a lot of time when you have three thousand images go ahead a couple follow up questions on that is do you shoot for the album so you you guys talked about how you try to crop in camera on dso are you shooting people are asking about you shooting for the album and then also what about different sizes of prince albany is definitely something that we're thinking about in the back of our mind because every client gets an album and we'll talk about that tomorrow how that works and I think when we say sheet for the album we're shooting for the story first and wherever the story unfolds where the great lighting is and compositionally looks the best we shoot and then we put together a book based on that we don't necessarily pull back and go oh this is gonna look great as a ten by twenty crop we do that on occasion but for the most part trying to think that way about putting together a beautiful spread versus creating a beautiful story and capturing that story is not as important so we focus on the story first and it's not hard to put together a book that tells that story and we don't do go crazy with our design work either we do everything and swat which is a simple wedding album tour from kiss and they're kind of pre does not pre design but you can sort of drop in spreads and just put him together and we don't go in and go ok let's take twenty percent off the top of this image and let us squarely here turn it six degrees this way you know we don't do any of that stuff because again clients don't see that I think they look at that store and go oh I walked up I cried my dad loves that's what they're thinking about and we want a little bit of flexibility when designing out was I think the biggest thing we're thinking for when it comes oh this maybe in the albums were taking the vertical and we're taking the horses on the shot just so we have that that's sort of the options that we're vertical horizontal in case it needs to go on a horizontal space so and one more question about the black and white is are you shooting for black and white specifically as well as for color we proof about ninety nine percent in color right we don't really turn anything black and white lessons on the block I think the stuff that doesn't look great in black and white is stuff where images where the color doesn't add to the image in any way maybe it just kind of blobs of color or it's a very emotional moment sometimes I think black and white when you take that color out you just really focus on the emotion of an image so you'll notice a lot of images that we have even on our website that air showcasing major content and major emotion or tend to tend to be black and white because your eye just goes right to the emotion of it instead of all look at the beautiful blue sky in the background too that's beautiful instead of man just look at the look on that bride's face so that's what I think black and whites shines is when it's a very content driven questions keep lincoln's times a couple more images just tow them together we always try and get like the slide before that poster and get a shot just the writing room looking at the camera just so they have that yeah I love this one of the groom just looking like a stud muffin you can see that you see that reflector adding that nice light in his eyes filling in those shadows looks really really great no dodging no burning no crazy anything one click at its on all these zach was shooting he's just trying to do something different you know we have our we have our shots you know we've got great shots of the bride and groom and then you have a little bit more times it's like all right let's experiment let's do something different so it took a couple of different shots and there you can really see that mixed lighting coming in a play you see that bit of a darker color to camera left and a little bit brighter to cameron in this case it looks great it looks like a nice contrast of light in this scenario are we had them so it looks really cool love this just in different looks from them and the change photos up you know like all right you know cory look off to you left lauren look at us lauren look off both of you look off so we're just going to switch it up a bit yeah the one that you just showed that one if you had turned her toe look atyou and both of them looking at you would that be a picture that you would have taken our would that have been a flattering yeah definitely but I wouldn't want her too far I don't want either one her in the background or kind of closer to his plane because she just kind of be out of focus if she's looking at the camera yeah probably roll her shoulder doesn't a little bit closer to his so she wasn't quite so far because right now we're showing a sort of having her be a little bit of a problem she's super cute she's given us a cute little profile he's looking on one side he's more the image is more about him in this case but if she looked at the camera and make sure that they were on a more even plain but definitely oh yeah so then we did this we do this a lot you know put the bride in the foreground the groom in the background and tell him be a prop it's really easy we have have him stand pretty square to the camera look off profile that brides love it because he looks room always looks very studly and she gets a chance to kind of pose and be in the foreground so we did a couple of different images of that and you noticed as we're far away the reflector was further away with our assistant stacy holding the reflector as we moved in she got that reflector is closest she could without it being in the camera to fill in shadows yeah questions about you talked about the perfectionism versus greatness a lot of folks are asking about what happens if you this is meg beg do you worry about having feet cut off on dh how do you feel about accidentally cutting off body parts and she's from ro los angeles like you know we know that ideally we don't want to be cutting off body parts do you cut those out or do you think well she's not really gonna think about that cut him out in the sense of you don't know who you are from a cropping perspective oh from a they don't look good we want include that in what we give them or do not worry about that because you're focused on her face or what I think it's definitely important to highlight the best features of people and toe de emphasize not necessarily completely hide all the time a de emphasize the features that art is great on people so for bride has you know really ugly feet I guess we're talking about her something I'll probably focus on her best feature maybe she has amazing eyes so we'll focus on her eyes but I'm not going to not shoot her feet because she wants to see what she wore on her wedding day so we're going to shoot that and that's up to her you know the bride's not gonna love every picture you take of earth and its nothing you did it's because she's self conscious or that didn't look right or she knows what looks better um we're definitely gonna focus on the highlights and in regards to you know cropping you can crop you know a foot off you can crop you know meas down but there's areas to crop a person where doesn't look awkward so we always say avoid the joints so for example if you were taking a full length of it length of me you wouldn't wantto have the frame stop me because that would look like I'm an amputee you always want to do in the middle of limbs so if you're doing ah here in up you would wanna crop here and not at my knee if you were going you would want to crop here and not at my ankles so you would do in the middle instead of like right at the aurelian awkward part's where it looks like I have limbs missing so that's kind of a great rule of thumb is when you want to crop and you don't want include the whole body you don't want to crop right at the joint and just looks for avoid the joints will be happy if you've ever taken an image of someone with problems right if they're like adam's apple they look like they're headed home question just tow follow upon that gina harrison is asking do clients ever complain when their heads are cut off a bit I love and photographers and my love it but do clients get it is long as there's a shot with their faces way shot a wedding one time um in alabama and the bride was about to walk out with her dad and her dad was in the military for a very long time and he had this it's amazing you know array of medals and that you know his dress blues or whatever he was wearing so they walked out I captured an image of the two of them looking at each other they're walking into the door frame they stood there for a second but I have a little time let's get that details I panned down sort of cut off their heads you know from that chest down and just got that shot of uh in between here of her holding him his medals and it tells a really great story without their faces even being it and I love those kind of images so in the slide show at the wedding of course I took the shot of his face but then in the slide show I put the detail shot because I thought that was cooler even though in retrospect I should have put the faces and because it's more emotional so I put that in the slide show on the dad comes up to me and he goes you cut my head off and I was like I know dang it I was like I didn't even notice you know your head wasn't unlike course I got your head off like don't worry I got one within it to so some people just don't get it you know what make sure that you through your marketing and through your branding and through the way you're bringing clients and that they're wanting what they see you know so if you do a lot of cutting people's heads off that's what they want they never had a problem with our clients because they see that stuff on our website and that's what they want so we attract those kind of claims but the dad or grandma might be a little bit like you but they're not our client anyway all right so last couple of images right here way went out at the very end and we did some lit shots these were this is what I love doing this is kind of my specialty and hopefully everybody enjoyed seeing it um this was done with a thirty nine and dr bank and off one off camera flash and as you can see it was the perfect time of day to shoot any kind of shots which is just before sunset and we got just thes smoking amazing images talk about hayes yeah some people may be wanting there's a haze on there when I screwed my cap on my lens mind neutral density filter there was some humidity in there so that caused this fog so then I wiped it off you know and it looks great if it's too much it might not look great but having a little bit and there and as this adds this really cool texture to it you're breathing on yeah so then this is without it once I wiped it off and we got this really amazing you can see that golden light shooting through the background man that light is rock star it looks just absolutely amazing so I switched to a wide angle lens to get something really cool the bride kind of came to life because she apparently loves posing like this so this was really fun for her and that I pulled the grumman really quick for a quick shot and we'll talk about this a lot today but that's kind of my go to lighting on guys because it looks so masculine you like him from the front glamour like guys and most of time it's like they don't look so good

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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