Shooting the Table Settings

 

Wedding Photography Weekend

 

Lesson Info

Shooting the Table Settings

for the bouquet and got her task kind of house that can I shoot that as a couple is so say this is the bride right here and these are all of her girls getting ready to catch it where's that will be is right here and he's getting the front shot so he's getting a cool shot of the bride be lit and all the girls in the background and then I'm often to the side and my focus is just the girls so I can get the story of the girl's tackling each other for it so that's kind of as a team how we do the bouquet in the garter toss and we're both connected to the r kicker late chris exact opposite for receptions and say it's not it's not dark but it's well lit the always make a point to make the exposure minus one and dude off camera flashes or do you use the reception light that's already been there and just shoot whatever we always wonder subject a little bit brighter than the background so even if we have a nicely lit place we still want those lights toned down just a little bit sore subject stand...

s out more so another question is this is a funny one certain photo twenty child wants to know what music you're listening to in your head is your dance in around steady soundtrack going on justin bieber really I and it was wearing one of your security is the big his biggest last wedding I had a I could not get the moves like jagger and it was just that little part and it's the soundtrack of life alright yes we all have our own soundtracks of life of another question is in terms of your the flow of the day how do you get to the reception before the guests if you are doing if you're shooting formal portrait ce with the bride and groom or how do you get the detail shots but more everybody comes and me you think it's really important teo the bride and the planner they will work the day so that that we can get in there our first priority is the writing photos so that is what we're doing for so oftentimes love a cocktail hour so we can get to the reception beforehand this last wedding we didn't get there till all the guests had come in and so there was nothing we could do but sometimes there's always a table that empty so what we're doing is we're finding that empty table and we're shooting that in an area where it looks like there's nothing confusing in the background on dh like this last wedding we actually shot some table detail shots near the end of the reception and I went in and I took like napkins off and like kind of any of the junk get some like classic table shots okay fake it till you make it get teo coming into straight the reception trying to find something that's not destroyed put it back together really quick and shoot some of those details if you can get an open table by itself awesome but sometimes you can't but the bride and groom know that like we're with them and obviously there's no way we can come in and shoot the entire room with nobody in it because it's full of people's yeah and it's your job is the photographer to communicate that hey is shooting the I don't know is shooting the reception before anyone gets in important to you and if it is then all right well these are the things that need to happen in order for us to be able to shoot it so I'm not sure if we're connected back up now take a quick shot oh yeah we got a great shot of the ceiling over there uh so as you can see how simple that was to do now I don't have to do any other adjustments jody stays the same distance away with the flash I grab a good composition I snapped an image and all of a sudden boom we've got awesome let's shots of the table that just look solace and I could get down low I could get a completely different perspective and then we can get close and shoot details of the napkin holders and you can stay exactly where she is but maybe move around that way justus coach and I can shoot these small details right here I'm close and boom you can see it pop up on the screen it just looks super cool I can come down here and get even more different you know intricate details was excusing the fifteen and sometimes we'll put twenty four to seventy on to get like a white guy heading this way so I'm having jody move around based on my positioning of debt what I'm shooting so since I'm shooting straight down on this I want some lighting cutting across so she could move that way even further to stay the same relative distance I can pull back that I can get a super cool shot of the details on the tables boom and I can just literally we can just move move move fast fast fast fast so it's really that simple shooting details at a reception you guys have any questions pretty simple but she's holding how are you it's on manual it's on this it's on manual in the way we meet it wass when my we did it with that history graham backgrounds one stop underexposed turn that flash off and as you can see when I take the simmons the kicker's gonna notice how everything's underexposed and the red channel especially a little bit underexposed so then she turns that flash on and we power up and up and up until all of a sudden we get hissed a gram that gets pushed to be and so she's just adjusting she's powering it up until the history ram moves toe almost over exposure and that's how that's how we're made it so then once it's set I don't have to touch it we just move and I just hold the light the same distance away and we can just shoot a couple of quick questions from the internet yeah the interwebs are the interwebs j m our photo I would like to know what power is flash that you're holding secret wear at a quarter power right now a quarter minus point seven all right so that's what that but of course it's gonna vary from situation to situation it doesn't matter what the power is what matters is under exposing that background watching the history ram and just keep powering up until you get just about overexposure whatever power sending your at is the correct power setting yes quick question about details and capturing them danel is wondering what do you do when there are really no details to shoot but of course they want to remember what the reception look like great question I think sometimes shooting and really tight and really compact and pushing things whatever little things they have very close together helps if they don't I mean we're shooting right here we have one table setting in a cake and it looks like great details there's a couple other little things around but shooting very close have a macro lens you know get some fine details that you can put in the album they need one spread of the details of their day they don't need spread after spread and all these big huge gorgeous draping amazing this they had a you can make a twenty thousand dollar wedding look like a fifty thousand dollar wedding if you really know how to photograph it so if they have like something intricate getting close and photograph it far away really tight than far away and then pack stuff together and shoot shallow depth of field and it makes it look like there's more things on the table than there are even shooting you know wine glasses together look really cool yeah you were outside which you do the exact same thing that it depends if we have great natural light we would use it we've also had receptions outside in the blazing sun so we'll actually instead of using flash we bring out big diffusers visit we defuse the light and then we get this very soft subtle light here with a bright background that looks straight okay so usually teo the details with the off camera you never like that because of so versatile like just now you noticed I decided to shoot straight down on this and I didn't want light coming underneath like that from back here we do want it that direction but from shooting straight down I now want it coming at a forty five degree angle this way so she can just walk over there versus buying an on camera flash I'd have to try to sort of bounce it from that direction and hope it can come in at the right angle or turn my camera but with this I could just put it anywhere that looks the best to have a question from the interwebs yes thie interwebs have been screaming question which is do you ever use the phil card on the flash no never never never use the phil car and I was wondering what that is the phil card is this little card that pops up right here which I wouldn't I would tear out right I was worried about breaking my camera but the phil card is really designed teo you know you're bouncing flash off the ceiling which is already a bad idea and now you want to pop a little light in the eyes but what's gonna happen is you're gonna pop a little bit of main light in the eyes from right here so it's going to shoot right up this way it's not even gonna be in a position that looks good so it's just adding direct flash there's glamour light is up here right direct flash is right off camera here and it looks horrifying it's really just not pleasant at all and it honestly looks kind of um like you're not really sure where to where to balance the flash I'd rather get it on if it's a last resort use it that's the on ly thing you khun dio to get the shot go ahead and use it but I would avoid it like the plague okay one more question for you I know I keep saying one more and then we're going the right way stella and a couple of other folks have asked why aren't you using the expo disk in this situation awesome question there are situations where we will use the expo dis but if I'm bouncing off white ceiling with uh you know standard flash my colors going to be completely consistent and it's going to be neutral it's gonna come out at the flash the last way presents if you go into reception or if I'm shooting through this and through this my color is going to be fifty six hundred caliban if I put that on it's going to be thirty two hundred calvin all day but if you walk into reception hall and you have a red ceiling or a yellow wall and when your light bounces off at it soaks up that's color casts and pushes it on your client then you go how do I get rid of that color so what you do jody watch you hand me the flash so what you simply do it's actually really easy you slide your flash on your camera and you simply pointed directly forward like this let me sort of generically do it's even sort of scene like that you pointed directly forward you put it toe auto set your flash the auto really quick put your expo disc over it pointed straight at the the wall that's giving you the color caste or the ceiling or whatever is giving you that color cast taken image because it's on auto and you have an expert dis con it's going to transmit their exact exposure that it should be because remember eighteen percent prey that's exactly what the camera likes in the flash likes it'll shoot it straight in there and it's gonna neutralize that color caste that's going to take out that yellow or red tent or whatever it is totally eliminated then you can either program in the camera or or do it in post production and start shooting right then and there and you'll have a neutralized color

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.


Reviews