Wedding Photography Weekend

Lesson 2 of 49

Wedding Day Gear Bag


Wedding Photography Weekend

Lesson 2 of 49

Wedding Day Gear Bag


Lesson Info

Wedding Day Gear Bag

we're gonna go over gear back now the things that we bring out two weddings and then what we use and will break out each situation of the wedding day and what lenses way need those two little tables right there brought over we're gonna grab a camera bag he has excited for this looking through the gear everybody likes the gear so what we're focusing no more burkas for crushing for focusing on right now is the year that we bring out when we're shooting with natural light so we're not talking about strokes or anything like that that will be too yes we will get into the strobes and all the fun off camera flash stuff like jodie said but right now I'm just gonna focus on simple basic stuff to shoot awesome porch it's that we used so we're just gonna kind of quickly go through this and give you guys an idea what's in the camera bag for those that maybe wondering were using the think tank v two which is the I think they're not international both you guys own this remember it's not the internat...

ional one it's the other one the security the bigger wait a little bit bigger than that one fits in almost any overhead on you know standard flights and stuff like that it's really cool too because it actually has a deep set pocket in a few of these areas so you can take a seventy two two hundred lens and stick it straight up and down instead of putting it sideways which ends up taking a ton of space so we actually fit more gear in a smaller bag when we switch from this bag from our previous bag that we were using they will go unnamed they were amazing to s o in the bag we've got a camera body one we like to keep the lenses off because we're able tto save space that way because if you have different lenses on it takes up more space depending what lens on so we have right here we have ah one d s mark three camera body and then we have a five day mark too with the grip on it which is really nice we also use these awesome cannon hand straps in addition to those we also use the black rapid are seven strap which tie into the bottom when they strap around that's what you'll see is using him later but those are great for hands free and this is great just um make the camera feel like it's a little more attached to your body as you're shooting um we've got three different flashes here which will be talking about today five eighties and one for thirty x we've got our handy dandy light meter oh my gosh is using a light meter z from like nineteen sixty two yes light meters absolutely essential um some of the other little accessories we've got extra batteries we actually a backup camera we have a thirty de the reason we like this is because its crop sensor so if we're shooting a ceremony and we're stuck in the balcony and the church lady will literally hurt you if you try to walk into the ceremony which one's athletic wedding which was our last weekend wedding it's literally not allowed to walk in that ceremony period under any circumstances so this allows us to get one point six times closer so this turns into a two hundred sixty eight millimeter lens or whatever the conversion is using a camera like that's that's great and then in case the camera breaks or something on the day we can use that got our cf cards in our little tamarack digital cf cardholder which is kind of cool holds like twelve cf cards which is great and how our cards work is that keeps us on um do you have the little ones so zach keeps all of the cards on him and I have a little pouch that came with our sandisk cf cards that we got so I just keep those strapped on me so I have the cards that I need and zach kind of has the mack daddy of all the cards on him so then if I run out which is rare and then I go ahead and get it from him but we always keep it on him and we don't leave our cards in the bag because if our bag it's taken and we're these are the cards are on my body and they're going to steal my body to get them so the most important thing we have that day is not even our cameras or lenses because we could get a replacement can't replace the cf cards so those are always on the body we also have jodi and I carry two exploded ex with us this is for custom white balance and also for getting accurate exposures on all of our images will be talking about this today so we each have an expo disc a little new item that I just picked up that I have yet to use this is actually really cool this is on the other side this is ah tiffin neutral density filter three stop neutral density filter and it's like what the heck would you use that for we'll talk on day two a little bit more about this but basically this allows you to go from shooting at f eleven toe have two point eight on strobes this is like putting sunglasses on your camera so we can talk a little bit about that tomorrow when we do stroke steph some of the other things lenses we've got uh you know what get crazy now we got the eighty five l two point eight which is my favorite lens of all time oh my gosh I love it way too heavy but it's amazing to wait at one point two and then we've got the fifty millimeter one point two which is awesome we actually have two of those thanks to the lens aaron thanks alarms rentals we have two which is really nice um seventy two two hundred two point eight image stabilizer version this is the original not the version too I heard there's a new version out the version one is absolutely amazing so I'm sure the version two is even better and just let it be an idea and will talk even more about what we use these for but these air favorite like to get like ceremonew shots so we can get in really tight and this is also really great portrait lands as well then we have some of our wider lenses we got the twenty four to seventy two point eight jody's is this ah lot on the girls are getting ready because she could move in and out really fast you khun taken okay portrait with it as well it's not super fast you know it's too late but it's it's awesome and then one of my favorite lenses the sixteen thirty five two point eight which I may use too much now that I bought the eighty five I used eighty five a lot more just because I love that lens but I used to shoot with this like thirty five percent of the wedding this lightness which is crazy and then some other cool accessories air just simply flash stuff we've got some triggers we use this cyber sinks but we'll talk about that a lot more tomorrow and some different flash accessories they're all in here and cables and then we just have extra batteries in the top and then we always carry of course reflectors and seemed if users and that kind of stuff which would get again we'll get into as we start shooting more than just a couple notes like do you have a question you know yeah this's a seventy two two hundred two point eight yep and get the one with the iess which is image stabilization basically what that does is it counter extra camera shake so when you're shaking and all of a sudden you turn the eye assan as you're looking at it through your viewfinder you khun see actually balancing out your shake and and this is having the eyes especially for weddings is super important because oftentimes you're stuck in the ceremony you can't use flash you don't want to use flash would more than likely look nasty anyway you're shooting in such a dark situation so you have to go toe low shutter speeds but if you have really bad camera shake I mean everyone shakes to some extent then the picture's air just disasters but it's been super helpful having the I s on here the image stabilization because it lets us shoot at slower shutters way are in that kind of vibration reduction or sony where it's just built into the camera what happened but then you have to use those cameras so just get it and we don't get the question like I was in to see people were like okay well I'm starting up to shoot weddings I don't want to go you know thirty thousand dollars in debt getting all these crazy all this crazy gear like what are some good lenses just just start with because you don't need all that to shoot weddings and we built that up over the last few years sorry one I didn't take out other the hundred millimeter macro is in there I don't know why didn't we use one hundred millimeter macro as well for all portrait's and then also detail close up shots so I think our recommendations for lenses if you were just starting out shooting weddings would definitely be I would say the fifteen we started with twenty four to seventy the fifty one four or and seventy eight two hundred and that's all we had always been to camera bodies that's all we really had a couple of flashes so we have backup camera we had enough lenses to cover you know pretty much any situation that may happen and then fill in with rentals you know that's the best way to start cause renting is not that expensive you can get lenses that you need but as you know you know all those lenses we just pulled out but they're very expensive you know they cost a lot of money and really the difference is an image quality are something that you'll notice a client will not notice so getting the one eight instead of the one to l is something that you're going toe like a lot and yes they do function better or they captured you know the focus is better and stuff like that but make it happen you know when you start out you just gotta do what you gotta do so jody and I you know kind of a side note what we started our business she said hey this is great I think this photography stuff's cool but why don't you prove that you can earn money before you spend money on any of this stuff and I was like what way decided okay we're gonna build this thing debt free so we built our business debt free so it can't be done so we never went into debt when you never actually spent any personal money except for our first flash on any of our photographer I was like how much how much is that lands eighteen hundred dollars crazy I'm like yes wait to see what else I wantto some questions from the internet to get through a couple at you um jenny v is one drain for your cf cards do you use a few big cards or a bunch of small two gigabyte cards first a question awesome question we've done both and back in the day I was always like use a bunch of small cards and then if you lose one um you know you've only lost ten percent of the wedding but then I have other friends who argued well if you have a whole if you have sixteen cards you're dealing with you know when your shoot you know you bring eighty gigs with two gigs each you've got forty cards the chance of you losing a card or probably higher than using an image you know especially if it's only interacting with that camera once place you know so we've switched now two six eight and six sixteen gigabyte cards and we always use sandisk sandisk invented compact flash technology and they work with camera companies to make sure these function correctly any other company by a cf card from sanders doesn't care because they still get paid on intellectual rights anyway but they take you know they take a piece from here peaceful here and put him together we've been using sanders since we started never lost one image using sandy's it's not a guarantee but now we use bigger cf cards so I only you know put a cf card in and out of my camera three times in a wedding um and you know the only safe bet tohave us to have a camera that can shoot two cf cards at once but you can always lose your camera or not can malfunction there's always a risk so I think either way is fine whatever you feel most comfortable I think will work and we've done both they both work another question the question yes we had a number of people in and specifically cowie say why don't you put the lens covers on just way out of the bag also upside down and just talk about your technique there yeah off super secret police that upside down yeah tech technically you never want to set the on lens on the body cap area because that's where the electronics are so if you put pressure on that that's what can actually damage lands the front of lines is very strong um we actually have all of our caps off of the lenses because we just realized we go to a wedding and I'm taking a cap off and putting it on and throwing it here and throwing it there and I realized I bought a four hundred dollar camera bag if that doesn't protect my lens I bought the wrong camera back so we haven't used lens caps in three and a half years probably and I've never had a problem with lines if you're worried about the front element you can always just put a uv filter on or something that cost twenty bucks which we do but some of the lenses but it's not nothing to worry about any time it's either on the camera or it's back in the bag we never place them anywhere else and speaking of your bag sherri ann mari ko's one and if you could say the name of the bad company you think tank it's from think tank and it's the uh airport security vi to beat you they have their laptop bag tio we had another one and this one is just amazing just how all the pockets yeah they're they're pretty slick we love think really good bag it's gotten addicted to their pockets I know all the nooks and crannies with any other questions for you uh one more quick question from ian spears how do you secure manage your equipment while you're busy shooting at the wedding great question um assistant jodi and I cheese tease an assistant at every single wedding um and a lot of people like I can't afford to hire an assistant every wedding there's so many people that want to learn and it's a great tradeoff for them to come and carry your bags and for them to watch you shoot that's a huge love you're giving them so much value by doing that so we always have an assistant and their number one job is to make sure nothing happens to that back then sure zipped up carry it with me so we always have an assistant kind of manhandling our bags so we don't have here soon everywhere you know mismanaging our stuff thank you all right so we're going to move on to getting ready the ones that you like to use and what the heck is in force so zack mention that we have a sixteen thirty five and this is an amazing linds and what we use for this is I love to get cool dress shots cool detail shots and also to use this to tell the story so for example this is ah the shot took address obviously and so I used the sixteen to thirty five just to really show that staircase that staircase was actually the staircase at the mom and the dad threw her bouquet off at the country club when they got married years and years ago so I guess they tore that down and they brought the staircase into the home like service was super important to them and it made for a really cool shots so we'll use the sixteen to thirty five to get some really cool kind of war being dramatic shots and you have to obviously be very very careful with the six thirty five at sixteen millimeters if you're on a full frame camera shooting anything because anything in the top twenty percent or bottom twenty percent when it's in portrait mode is going to get very distorted so if you don't want that toe look on natural don't put it in that area so you have been very very careful and then the next one to twenty four to seventy I love this lens because what's so great about it is you can get in really close with it and then you can also pull back with it and I think that is so important especially when she's getting ready this is something that sometimes gonna happen really fast so I love the twenty four millimeter part of it because I can I can get really wide I love the seventy millimeter part of because I can get in really tight like this shot that you see here so I'm getting the soft light on her getting her face done but then I can pull back as well and kind of show this story that's going on something I also love about this lens is that I can also get some detail shots really easily so you can see here you know shooting the back of the dress getting done up and what's great about the twenty four to seventy is it khun focus really close I love getting really tightened focusing on stuff and that actually has a pretty close focus range that I loved to use yeah from the next level that we like to use a lot is the fifty millimeter one point to this is a great winds we've used again the one four I know a lot of awesome photographer used they call it a nifty fifty of the one point eight it's like one hundred dollar lens awesome you know it sounds like a tonka truck when it turns on and it's really loud when it focuses but awesome lens so you can use any one of those lenses they're great obviously the one two is going to be the most beautiful um well I use that a time when I'm shooting guys getting ready the fifty millimeter one point two is a natural look it makes things look like it looks like when you're looking with your eye so I love it for hanging out with the guys it's a very non confrontational and I like lens I'd like to say because you know you walk in with the seventy two hundred on and you're just like hey dudes what's up in there like you're the photographer huh like what was it you know with the fifty especially the one two or the one for is just like real small and you're hanging out chatting and it's like click you know it's just such an easy lens to maneuver around with so we love that one's so then we also use the hundred millimeter macro and what is so great about that is you can get in really tight on things especially the rings which will demonstrate later one hundred macro it's great for details on love shooting all the detail shots with it but then also you can use it as a portrait lens as well which a lot of photographers don't think about so I'll use the hundred to get in really close on the makeup shots and just to get in really tight on the action that's happening because I love you that's my favorite that's kind of my go to shot I always make sure captures the eyelash heard getting ready because I just love the look of that so one hundred mac rosa great linds for that oftentimes I will use the twenty four to seventy but yes

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.