Wedding Photography Weekend

Lesson 31 of 49

Shooting the First Dance

 

Wedding Photography Weekend

Lesson 31 of 49

Shooting the First Dance

 

Lesson Info

Shooting the First Dance

so essentially what we're doing here is we're pretending that this is the first dance of our bride and groom so so let's first to abound slash and then a direct flash or that off camera flash so first we're going to use our bounce flash and you notice I've got my little ah cst transmitter hooked up to a little cable they actually comes with these cables that plug right in your camera I've got velcroed to the side of my flash and then I plug it in to the pc sink which what that does is it basically when I take a picture it sends a signal to this which shoots off my background let's as you can see I think this one has to be on your watch my macaron flash when I take a picture of fires so we're like sweet that's awesome the great thing to cause I'm already pretty much metered up I know how bright this background as we've been shooting details over here the bride and groom happened me dancing rehashing and put them like right about here and pretend their first dance is happening and someti...

mes we'll even tell our bridegroom you can dance around right here sometimes I'll say that because you we've been at receptions were like there is a super hot spot right here and they stand there the whole time and dance in your life now like kill so we'll go hey have you guys dance right here for your first dance in the center of the dance floor it's gonna look amazing like oh great idea and I'm like I know so we're gonna have you guys do the off so we're gonna have you guys do and I'll bring actually my wife in because we don't need them dancing in a circle with music that be really awkward so we're gonna do instead because we're just gonna have you guys sort of pose like this looking at each other pretending you're dancing that's all you gotta do is kind of just stand there and look hot of course oh my god is that you yeah just like that perfect oh my gosh you guys are so hot ridiculous and actually moved move this way just a little on perfect right there right there actually move back a little and it moves that way scott I'm just trying to get him to hide that ugly no dancing in their life so that's awesome you guys and all I need my eighty five back would be money because eighty five is the greatest thing that's ever happened so a zeca switching lens kind of how zach and I shoot this as a team is oftentimes zach will be shooting with eighty five and then I will maybe have a twenty four to seventy or if you feel up for it I'll even have a seventy two two hundred on so I can get in really type oftentimes they're tag teaming so zach make it more of a longer more of a closer tighter look and then I'll get more of ah wider look so you can see the room and everyone's faces and oftentimes zack his main focus will be the couple and then we'll also both kind of watched the crowd on what's going on but we know that at least one of us is focus entirely on the couple and we're both shooting them and shooting the story but they were also looking for the crowd for mom for dad or whomever precisely that it was this waiting for this tow connect the interwebs again so you guys a gorge just like that absolutely perfect so our background lights already been set up we already know how bright the background is I'm gonna have you guys like kind of looking at each other yeah a little bit closer together and I'm not using that white just yet duty I'm just using a bounce flash on manual this is going to fire off my background flash and I'm just making sure while I'm shooting that the background is one stop underexposed which it should be at the moment so now because my bounce flash has not been thoroughly tested yet we're just going toe adjust that I'm checking my history graham I'm right at the cusp of being nice and bright like I want to be so I'm gonna take another shot here in my background linus flat firing right so jody take that light and just pan it this way to discourage normally we wouldn't be that close to a wall with a background light but we're kind of forced even more so it's streaking against the wall just a teeny bit it's really subtle you can hardly see it but I don't want to be able to see that all right here we go again guys you guys look amazing oh my gosh wow so as you can see here's another shot this is exactly what I would do it a reception here comes the next one we got a little bit brighter which is just what I needed not my history grams push right to the edge and they look fantastic we have this beautiful room light room lighting the groom he looks awesome let's have you guys kind of switch sides so pretend they just spun around great awesome but just come right together on kind of same thing but looking at each other awesome just like that that looks great but turn into him a little more my dear perfect and then yeah pretend dad's over there and you're looking at him so look off well this way uh yeah looking right over your shoulder perfect and she looks over and sees dad and she smiles just like she did and now they're on the other side and boom we've got this beautiful image and that's really it's that simple it's that simple to do that we're going to switch over to the off camera light which is going to give us a little more dynamic a little more focused light because it's a smaller light source instead of this big light source from the ceiling and this is gonna be cool do you have time for a quick question yes okay image sweetness is wondering how you deal with uncle bob's who are amateur photographers who want the shot of the bouquet toss to dance yes they're in my shot I will stand in their way you know like shooting the cake sometimes there is you know over excited people and at one point I'm like I kind of like I'm like ducked out of the way before insects like you doing and I'm like all right you know so I'll just I'll just move in their way because it's our job to get were the ones that are getting paid to shoot their shot so when it comes to stuff like that I'm not afraid you know we're not we're not worried about them taking images and putting them online because we're gonna have way better content and we're gonna have ours up that night we're gonna have five images on facebook that night anyway so they can try to beat that and they may have some cool shots but are gonna have such powerful content but they're not going to compete with it anyway and if they're in the way we just kind of step in front of them and sometimes they're shooting family portrait ce and there's like everybody and their cousin uncle bob is all they're trying to get a picture of johnny and she says all these will be available online for you to see later we just need to waiting to move through this right now and they're like ok and they just get out of the way every time jodie's really good at kind of manhandling people like that woman handling people ok so now we're going to do the off camera flashes simply now I just have my cst transmitter which is going again just fire that background light and fire this light at the exact same time and now with jodie has to do is stand sixty eight feet away normally when we'd be doing this should actually have it on a little stand because the father we we get the higher it needs to be to come in at the right angle so for the sake of not grabbing a mono pod and all this stuff she's just going to sort of hold it up here and she's gonna be a little closer than we normally I mean normally we want when I say six to eight feet it's usually three big steps so if the senate of the dance floors here I usually go one two three that's where about the light should be because then I have a little leeway room to move in and out once we get it exposed if she's this close and they move a foot that way they're going to be under exposed so when I want to be all up in there girl now so we're gonna have jodi about five feet away just for the sake of the same thing as we just did a second ago but yeah you're kind of looking out that way looks super awesome so I'm gonna pull back here take a quick test shot you guys are so good at this it's ridiculous so now you can see you're going to see a little a little more contrast on this next image boom which I kind of dig looks really solid and typically would actually have our background like forty five degrees to them right now it was little it was a little too much over the shoulder and you notice that hit the groom's nose and during the reception if that's happening it does not matter it's dynamic it looks great they're not gonna go hey there's too much light on my hands and not quality right so let's do one more image just as I did a quick adjustment on that so real close together guys yeah just like that perfect looking at each other more but not looking at each other is kind of looking down into his chest like that move a little closer perfect oh my gosh you guys are amazing let me get one more pull back just a little bit go ahead jody another shot up there that's awesome you guys super cool couple more just to take I'm looking at each other yeah it's great and then bride looking over your shoulder out this way for me oh my gosh amazing I'm so encouraging and they all look fantastic beautiful so now imagine them moving and flowing together and you start getting these beautiful real candidates the question from the couch never a lot of people are like they talk in their face and they're all no we're winners and we just try and capture those good faces in between they're talking and yeah when candid moments are happening the cake cutting we'll tell them hey can you stand here for the cake cutting and look this way look this way to your family and look the best but when candid moments are happening we're completely out of the picture they're dancing if they're like if this is their first and say that's the first was there to capture their winning not tell them what their wedding should be like this certainly we want to enhance it make it fun make it a great experience for them but we're not there to tell them how to be in love were not there to tell them how I like make a great image for us were there to capture what happens at their day so if what happens is like understands like this which I've seen your first answer that like yeah totally and I'm like you can tell this is not especially in detail shots with no head no head shots yeah uh public people are wondering if you could kind of demonstrate you or dance as you captured them dancing actually like move about totally yeah so a lot of times you'll see if we have this much room and and just do a fake little you guys kind of spinning in the you know the circle for me if they were standing there shooting and actually do you want to see one of us with light hang on we don't need to shoot it I think they just want to see where we are like how we you and I she lets do this really quick if you were an assistant what would you be doing so let's do that and usually I would be kind of and go ahead and just give me like you got real close together just give me one of these kind of don't you know this this thing and we'll go around once I promise okay so they were doing that my system be running to the side really fast a light that side of their face and I'd be capturing that and boom I do shooting like this yeah perfect and can turn a little faster guys perfect and now it's back here and that's kind of how we be shooting just like that zach and I do like you know zack we'll just stay on this half side of the room because we're staying in this whole area so we can always get that little kicker light so zack and I will just kind of move around each other and we got a little candid moments on their face oh my gosh so really we're kind of gang busters like running around really fast and I'm downloading I'm like wait a minute I got the wrong lens on and I'm switching lens is really fast but we're trying not to be like spouse is in front of our clients and a lot of times in between shots we're actually doing this my thighs after a wedding or sore because we're so much catch a lot of them we can shoot from the center of the frame so we're not like making our subjects like slap also because we're trying to stay down and you know when the parents are giving a toast they don't want to see a photographer like what did you know like oh you're trying to look over your daughter sorry if this is going we're like down and then we reign and when the moment's happening like were like little ground hogs going on hold because I think it's really important to like blend in and we've had a lot of clients I feel like I'm running around like crazy at a reception like just shooting everything we've got clients that I don't even know you guys were there and it's like that's because the body language is really pulling back sorry question amc jarvis keys wondering what is the slowest trucker speed you would use to shoot dancers when they're dancing and depends on the speed dance so if they're doing the you know that little the little turk twirly two step thing that people do like this I'll go down with thirty and I'm not afraid to shoot a thirtieth of a second and if they try to stand and trying to stay at sixty and eighty eighth of a second or a hundred for the first dance if I can like right now I'm at one sixtieth but if they're moving and doing a lot of movement one hundred or more is going but they're going to be there gonna freeze pretty well you actually very surprised and if they're moving very quickly the trick is to just follow them with your camera and then snap the picture the flash will freeze in the background may drag the light like we showed earlier but the image I showed you this groom caught the what they call that caught the garter and went yeah and move like I mean he was moving quickly and I just pan with him and click the shot he was frozen solid and I was at a fifteenth of a second for that shop so you'd be surprised what you can do and just a little on top of that theresa seventy for it asked where do you point the focus where you focusing great question always on their faces when they're moving in a reception hall and it's dark you can't necessarily get focus on the eyes and when they're not looking at the camera I don't need the eye perfectly sharp but I want the face sharp so I was actually moving my focal points around and always capturing their faces I want their faces and focus because that two point oh from the distance I was shooting at and you could see if you resumed in her back of her hair is probably out of focus and her faces and focus in that shot and you can actually see our groom's face is out of focus in that shop her face is in focus a very very important focus on the face as much as possible and when we're doing fast dancing photos and everyone's just kind of moving around so hard to like get a focus and then have the shot happened by then they've already moved out of focus so when we're shooting fast dancing shots oftentimes will be on a servo with all of our points on now there you go there you can see her hair out of focus on her face in focus look at that unbelievable and that was that to ow from that distance so very luckily I nailed her face and focus and I was moving really quick they may be lucky but having a one d s definitely help oops a mandy h is wondering what you do when all the guests get in that circle in the in the big dance everybody's in a big circle you have any laundry you get it we've shot jewish weddings and indian weddings both of which people can get very wild and crazy the jewish thing is kind of you know they're all together doing this and their order and multiple circles and I will be running and ducking and jumping in between circles that's why I think it's really important not to look through the eye hole for fast dancing believe it or not most of the time I know what's looking through here at twenty four sixteen millimeters I've got my flash and I watching expressions like this I'm on a I servo so I'm tracking have all my auto focus points on because I want to grab anything I can grab because it's hard enough to grab it uh a sharp image and I'm kind of watching him going click or maybe the shots over there click and I'm literally shooting like this the whole time crazy and I'm like dancing around with them you know it's crazy sometimes and people are like when you're when you get into instead of like being this guy there like okay but when you're like jodi's dancing around at a reception and I'm like you'll see them start to be then they're like oh you want some of this you that's when you get these amazing images of people like leaping into your camera and jumping and and feeling like you're part of the action and I get quite the workout as you can see him already but I get quite a workout sheet reception and but people really appreciate that like you're a part of the fun question from the focus points about cheating yeah when dancing stars the best thing that we found to do especially people start moving around all over all auto focus points are on and we're in a servo because my cameras doing this there's no no way you're gonna lock focus so I'm picking any focus point that grabs something awesome and I probably say maybe seventy five or eighty percent of my shots were in focus with five demark too so instead of just selecting those center focus button we have all turned on you don't just pick anything anything you can grab it grams and this sixteen to thirty five lens actually focuses a really solid and low like twenty four to seventy a little tougher so guys we just have a few minutes left was there any more shooting that you wanted to dio I think I think we've kind of covered the okay the gist of it so we could take a few more questions all right great a few more questions anymore you still back focusing yes I'm always on back button focus great question and can you explain that again for folks out there who might not know about the thing with regular focuses when you press your shirt or halfway down as my model zac you're demonstrates when you press your foot and your shutter halfway down you know focuses and then you take the shot and then thing is for every single shot you have tto refocus so the problem with that is say off zach is shooting me and say actually let's do better example so let zach is shooting are writing room and say they're having this amazing moment and we're always wanting to focus their face exact is gonna focus on their face and then recompose the shot right but for every single shot has to take us to focus recomposed focus recomposed and I looked like you know this guy say korean airlines have done that they go why do you keep doing this and I'm like I'm focusing and recon posing there like what does that mean so like they're laughing and they're kissing other having this great moment and we're kind of missing we can't be missing some stuff because we're having a focus ring oppose the great thing about back but focusing is when you depress the bat one that we're back but focus does is it takes two processes which is focus and shooting the image and it breaks them into two different buttons because that's two processes so now we just take images with the front button and we focus with the back so I can focus one time go ahead and put the light over on this side with quick and give me like a fake laugh by the way so I can fire like that and I never had to re focus and they have not moved out of my focus plane so there's no sense and refocus that lacks the focus even though that wasn't the most let's do that one more time but we'll be away from the walls we don't cast that shadow on the wall perfect right there and let's do that one more time a little closer together so I can keep shooting and shooting and shooting and every shots and focus and then if I need to get capture focus again I can but I don't have to worry about because well here's what would happen if I was on front focuses every time I press the button if I moved my focus point it would grab somewhere else and then they'd be out of focus so it's a really really awesome tool is to be able to focus and recompose and those obviously aren't like wow factor most amazing shots and I don't know why our shadows getting castle wall son probably late jody dance messed up the line fired so that's why we use back button focus it's a really powerful tool now the question yes last question of the day the last question going and you guys have so much great energy that you're bringing teo everything you do in your photography and we're just kind of wondering how what do you guys do to maintain that energy and keep giving throughout the day without you know getting too tired to think anything is this room is actually called the cocaine room but anyway I should I'm stopping drinking I don't know I think it's something you know have a cheese to turn on honestly you know the wedding we shot on saturday I don't get sick very often and the last time I was a sick as I was saturday through right before creative live was seven years ago I remember it specifically because I never get sick I haven't thrown up since two thousand I have like an iron stomach I just don't so how's the wife the point is I don't get sick very often so we were shooting this wedding and I literally you know that feeling where your whole body starts taking your back your neck is so sore and your head is starting to throb I guarantee our clients had no idea I was feeling that ill because when I was in front of them I just was like way took him home and he was like running a hard one point seven like temperature and so like so there is the element of just turning it on but at the same time we also bring snacks with us to kind of keep that energy because well dreams so fast if we don't have it and water yeah and then you do need a little it's actually bringing some gatorade that gives you that little bit of sugar like because my blood sugar gets low so we usually have a coke or something like that like right when you get the reception and then it kind of brings my energy back um but when I'm in front of clients like it's our job to make sure their days awesome and I don't want them remember remember how uncomfortable zach was at our wedding when you shot adventures I've shot weddings with strep throat before just keep the long lenses on just you know turn it on for your clients and they really appreciate you having that extra bit of energy because nothing's more on cool than life but your photographer you know and people reflect that they were gonna feed off you and if you're excited they're going to be excited so we're not going to see him cory you're lauren and you're after today so huge thinks you're awesome thanks agnes calls when you engage how thank you so much zach and jodi thank you so much for bringing all this knowledge to us it's been an amazing day thank you to the internet fantastic questions all day long we try to answer as many as we could I hoped that you were able to you learn a lot along with us thank you students you guys were fantastic and the models were awesome as well so just everyone here thank you

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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