Wedding Photography Weekend

Lesson 29 of 49

Shooting the Cake

 

Wedding Photography Weekend

Lesson 29 of 49

Shooting the Cake

 

Lesson Info

Shooting the Cake

so first thing to do is we are going teo pretend like we are shooting all we are going to do it we're going to shoot details of the case so justin let into the reception and so now we have a few moments to shoot the details of the cake so what we're gonna do is we're gonna purposefully dio off camera flash which we like to do because it gives us the most control and it also gives us a little more focus light with which is going to add a little more drama to the cake so we've got our little cake here set up and this is something you may see the reception you've got a couple of up lights in the back we've got the cake sort of sitting in a blase area with not the best lighting on it so if we just took a picture and exposed for this it might look okay but that's obviously gonna be very bright in the background we don't want that so jody and I are going to do is grab are off camera lightning right there apparently this is all I can't shoot a background light just uh use my camera no we've g...

ot our little um micro transmitted from cyber think the cst cute so you just slide that on her camera and it's set up this has got a receiver on which you can stick on the side um it's got a receiver on it so when I click this it's gonna fire that flash I also have my background lights set up over here hold on for one second I also got my background flash set up and because our dance floor is sort of gonna be in this general area I've already got it set up so why not use it to light the cake as well it's gonna look really dramatic and dynamic so kick this bad boy on like I mentioned we always started about one thirty second power so that's about where this is at right now and remember any time we have a background kicker light anybody remember the direction we want that background like to come in at four exactly forty five degrees or straight behind is also cool but forty five degrees is great because it's gonna add a nice rim light tow anything we like including the cake so we're gonna have the jokester do she is going to help me out with light I'm gonna generically set my camera I s o four hundred one one hundred two point oh I like shooting shallow depth of field even for reception stuff it looks cool so we're going toe simply point the camera in this direction and make sure what what we want to do when I point the camera this direction and set my camera on manual what I want to do what do I want my exposure to be like without the flash linus one exactly yes yes yes yeah so I'm gonna point the camera this direction I'm gonna get a little you know I'm gonna grab my eighty five if I could get my eighty five because it's gonna look way better actually typically if I have enough working distance I'll use my eighty five lens because I want that cake toe really pop out be nice and compressed background soft sir that's also gonna blur the background a little bit more and so kind of a little trick of the trade is oftentimes thie cake will be pointed towards the reception area so let's say all of the tables of the reception area right here if we shoot the cake the band is going to be in the background so oftentimes what we'll do is we'll get on this side and we'll turn the cake around so we can see the front of the cake and see the reception hall in the back so don't be afraid to move stuff just be careful if you drop the king nightmare I will drop you I know this cake like toppling we've done that like we did this on a video once and we're like holding the cake and turning it everybody's like I can't believe you're doing that I'm like it looks so much better so what I'm also doing is purposefully moving down so that I we've got this sort of little speaker on the wall and I'm not too excited about that being in shot because it's really distracting so I'm trying to crop it out without also getting too much of the ceiling and the shot at the same time so right now zach is adjusting all of his camera setting so in camera meter minus ones right now it says zero some in a lower my s o to two hundred and now I'm at minus one so I'm going to take a shot make sure that flashes off it is so I'm gonna take a shot just with the ambient light so you can see that and there's our one stop under exposed image coming up I don't know if the screen's coming up there it is beautiful oh my gosh it looks amazing doesn't it and actually a lot of times I actually do something like this I'm noticing I probably wouldn't move the lights at a reception but in this case I can because I can sometimes we'll move the cake or move our bodies so we can frame it up how we want it to be framed so I want a little bit more the dynamic life if if if I was that an actual subsection I probably move the cake slightly this way so I notice when you look at the image on the screen the far right has a really bright spot in the on the left there's nothing so I'm trying to even that out just a little bit more make it look a little more dramatic so now we've got to take one more shot with no flash and I think that looks a little bit cooler like that awesome very cool so now we're going to go ahead and add or off camera flash jodie is going to stay about four to six feet away go ahead and turn it on it isn't that at quarter power so that a quarter power to start and she's going to hold it at a forty five degree angle and kind of high because we like hi it's going to be a little more dramatic so now we're just gonna and I'm watching my history graham and right now my history graham says that I'm a little bit under exposed with that cake I can see that cake is a little under so we're gonna add a little bit of flash see where we're at and at first glance were a little bit hot where a little bit too bright with that so jody's gonna bring the ex im going to say come down two clicks and the three clicks would be one stop every time you turn it three times it's one is twice as bright or twice is dark so I've come to really understand one more thing I'm gonna do everything that one one light is a little bit brighter than the rest of drives me crazy but it's ok all right so one more here from the job story a little bit darker exposure and remember if the whole rooms one stop under your going I think the background still too bright won't speed up your shutter speed darken that background and get it looking the way that you prefer it to look so here comes the next image up on the screen and now as you can see boom we've got a really solid looking let shot that is awesome right there perfect so that now make sure you take a vertical so we have that and I can simply easily move in and capture details like this really easy and it looks really solid really really good it's captured one more so as we're shooting you know the cake we're getting in and trying to get some details for the cake artist and just fun other little details that we know that we'll either be utilizing the album for that will be so now something really fun that I can do is simply let's add my background so I got to do is turn it on I'm actually going to split like split like the cakes I'm gonna jodie help I'm outside forty five degree alighted from there she just stays the same this is yes same distance we don't have to worry about adjusting that background light at all and now we're going to see what that looks like with the extra light had it too how are you choosing your s o for that we just adjust all of our camera settings just so we get that one stop you know under explosive we have to go higher than we bump it up higher oftentimes right eight hundred sixteen hundred but you know each reception is different so sometimes it's super dark we need a ambar I s because we can't get our aperture down anymore or shutter speed is too slow so we need a change I s so so it really is dependent on situations great thank you another question yeah that's what you like to do your style well oftentimes it's so dark you don't really have a choice I mean like if you want to expose enough you know we will shoot at lower temperatures and I like the look of it too I think it looks way more casting in the background is you know thrown out of focus and it's all really come preston stuff so I mean if we start shooting at higher apertures for details like that that we need a lot more flash we need adjustment for other camera settings you have to know you're falling all around with the light did they totally understand it's a pretty standard that they just get used to it awesome they don't even notice it and they're like see you at all you know if we had our big like twenty four by thirty two inch soft box like palling around with the reception I think they would get pretty annoyed I would be pretty annoyed but it's so they don't even notice it and then so we have this really that really dramatic cake shot that we showed you where you know it was like storeys tall that had the goble lighting all around like that's like a forty foot ceiling so there is no where to bounce late so we had to have on off camera flash like what we're doing now and so we put it on a stand and we had our assistant run it up some feet and literally she was at the side of the dance floor just walking around even laid in the dancing photos sometimes we'll just do that for like the father daughter dance that was like the overall dancing photos and no one even paid attention to it because you think the gel off that please so I think that was a great jodi answer questions about two minutes and I actually had a problem I back on flash was not functioning at all so it's always very important tohave backup cables backup connectors back up everything because one of my cable's just stop functioning so I switched it out with a different cable now as you can see it's firing correctly and that happens on the fly a lot where we go this connecting peace broker that connecting piece broke this stuff breaks a lot so jodi jodi and I have to be ready to work really fast or go okay we're just gonna do one line on the front and no background like tonight and that's happened many times so what I did was I added about sixty fourth power on the background light I took a quick test shot and you can see on the screen it looks really cool in the background we're gonna add the front flash again but I'm noticing that these lights aren't very tungsten colored so I took the tungsten off of just this one I went back to flash uh white balance so now I'm gonna add orange light in the background but I'm going to keep flash on the front I think it's going to make it look a little more dynamic so we're going to give that a try really fast and your white balance is set my white mounds have set the flash yeah correctly correct so now digging that so check this out when it comes up on the screen best kick shot ever so that looks really cool we have a very dynamic looking cake we have this beautiful orders like the background um we could even take the tungsten off the back if you wanted this rim light to be perfectly white if you prefer in that but I kind of dig this I think it's really cool let's actually do that really fast for one shot just to see how that looks yes what's so great is when we do have an assistant holding this up on a pole for dancing shots it's it's the reception so the power on this bad boy is so low that zach and I can both shoot off of it and the flash new charges pretty fast so let's do one more so we'll both be hooked up like zach is and for detail shots both of us don't need to shoot the same shots normally just one of us takes the lead and then we'll have our assistant on the other so there you can see way got this really cool more of a white look to the light and because I took the gel off it makes this flash come out a little bit more powerful I'm just gonna kick it down just a scootch make sure it's not too close to this wall because we don't want any lights shooting through that wall and you can kind of see it shot through that wall just a little bit so one more last one and then we're gonna move on to the rest of details boo that's exactly what we want got nice contrast and you notice we got rid of that flare coming through it looks awesome so now I have to do if we want to shoot through us the details okay let's hop over here to this table now in a little closer to this I need my fifty millimeter lens back to stacey come grab it for me thank you my dear well you're switching that out quick question from the chat room uh what do you do to um fix the lighting of the cake is lit really hot wait actually just shot our wedding last saturday and the lighting company came in and they you know they want people to see it but they don't understand lighting ratios and lights on the cake is like three times brighter than all the rest of light and they're about to come out and cut it like this is terrible so we had our assistant grab a diffuser defusing diffusion panel and put it between the gobo that was lighting the cake and then for them to cut it and then at the last second the lighting I was still there came over to hate you want me to turn that off please I turn it off and totally saved the shot for us because otherwise you have to overexpose or you have to to turn all of your stuff up brighter than that light on the cake and on the whole background it's totally dark which is terrible so well either defuse it I'll go over and unplug it to take my shots and then plug it back in and I do whatever I gotta do to get that shot so diffuse it get rid of it any whatever you got to do we're gonna do a quick shot here of this table so now who shot our first detail we have our cameras waiver cameras that we have are off camera flash that so now we just move around the whole reception and he shoots shut so who's ever holding the flash we just stay the same distance away and then we just shoot and I'm just waiting for this thing that connect teo to the interwebs here for everyone well second huh do we have a question maybe maybe a question while we're waiting always question from amanda williams for the bouquet and gardner tawes do use the kicker light do what do you use the kicker light yes once it's set up it's kind of good to go just stays a relative distance away and we just we'll move it around sometimes so if they're doing a you know something over here we may grab that back online just keep it that similar distance away and fire and and and a forty five degree angle to the max but yeah we'll use it as much as we can and if we forget to grab it it's not the end of the world because we don't need it it just adds that extra dynamic uh actually if you want to turn that one this way justice coach while I'm thinking of it I'm always watching my lights and I'm looking at over there and don't want appointing a little more towards this um table set up over here someone have julie spin it perfect and then she can run back really quick but usually have us that's why it's great to have an assistant and run back to a quick adjustment

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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