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Photoshoot #2 & 3: Review

Guys I wanted to say this last this last photo she was actually really cool because it was incredibly field with problems um from the moment that we had to come in from the technical issue we had because it started raining and so forth so that that's gonna happen to you too right sometimes you think your plan you want to do a great job I mean just the curve balls just keep on coming they keep on coming ana we have to remember to keep our heads straight you may have to focus a little more you may have to do whatever it takes but if you try to break down a location on based on his kids based on its geometry symmetry balance color elements right um paintings, translucent surfaces, patterns, repetitions um and contrasts could come in terms of light shadow red with white blue with white any kind of contrast that you can imagine is going to help you there's no way you could walk into a room I not be able to find at least five or six of these elements around you. The beautiful thing about pho...

tography is that if you do find these elements around the room those are screaming common photograph me come and take advantage of what I'm giving you hear the problem is you have to find you have to have an eye that kind of red flags those things quickly um if you're shooting in a mansion if you're shooting in ah in the ghetto I don't care where you're shooting in the ghetto you could have a lot of trash on maybe there is ah lot ofthe great owns right? Well great tones are part of the same color family and that's better part of the color part of color elements if there is the same color family in the background of your portrait you're going to end up with a beautiful no distracting background everything can be turned into a solution you know if you have something that's red or green or blue and it's in your background you know that's going to be a distraction and if you cannot do anything about it you can use it put that destruction on the left put your bride on the right and you have a solution you're balanced it out so my mentality during this photo shoot that was going on wass I'm just going to concentrate I wanna focus and I'm gonna use this locations and I want to use the location skips to the maximum potential I don't care what it took I don't care if I have to lift up a glass table and be able to get a reflection that way uh there was a little mirror with a little bevel on the side that was in a dark corner of the room so I brought in a nice light to be able to illuminate it there's a solution toe everything that I had to deal with right now. Andi, we're going to go through the photos. I'm going to carefully explain what I was thinking, so if you're at home, hopefully you get inspired by complicated rooms. Hopefully you see how practicing at home monday through friday can really pay off when you're under pressure, especially when you're photographing your your clients that are paying you and they're looking forward to the memories you're gonna bring to them on when the curveball, curveball scum I hope you can have a solution for them, so we cannot be like, well, my brightest to shore my my groom is too tall, my room was pretty. This is just never going to give you results so let's, go ahead and turn it around now that I did the photos and they turned out the way they turned out now let's go inside like a basa like they say in spanish, let's, go inside the head on dh hopefully this world bring you then and and really, really you to see what I was doing and maybe keep you from ideas on your own for your own wedding so or your own portrait so let's, take a look at some of the stuff. I want to tell you that if you're in the creative life lunch or questions, feel free to ask away cannon. Susan will ask me the questions you're asking me if I'm teaching something, you have a question, ask it away and we'll be answering those questions right after I finish all of this explanations. Okay, so the first thing I did when I went outside is I noticed that the sun was hitting her beautifully, so I turned her body away from the sun and I turned her face by towards the sun the problems look at the shadows in her face. No, this happened because I had her look down. So my first, the first mistake is when the sun is coming from above like this and you have her look down is going to create those kinds of shadows, you see the shadowing than under the nose and that's fine and dandy, because we're trying to fix the problem that's the whole point of this class on as soon as that happened, we went ahead and fix the problem by bringing her chin up. Okay, so now we had her look up into the sky, you raise the chin now, it's illuminating her beautifully, kind of like what I did with that mannequin head when I put the light over her and I and I actually raised a mannequin's chin you get full beautiful light in your face when you bring the light down you create this this shadows coming up here I decided to keep your eyes closed and give it more of a motion field there wasn't why I came up with the motion pictures because when the when the wind came through the veil was kind of flying through the wind and to me those are red flags or green flags green flags to do something about it so if you see something like that why not get a static niss out of the photograph and add movement to the picture so where photographers we can photograph motion to on dh we can have shutter speeds off up to eight thousand shutter speed you could free the bullet in the air so if you add movement to your couples if you had movement to your subjects the picture my look a lot more candid a lot less contrived a lot less post so why not? This picture is beautiful a lot of brian's will love this so if you can if you get inspired by the wind and it's moving it is moving the veil or whatever maybe try to post in motion as well I also raised her chin and I close to rise tto give to give her that dreamy feel to the photograph now let's move on to let's move on to this picture if you could see my mouse moving around you can see that they're scars everywhere actually there was distractions in every part of that road I couldn't have met there was not a very much space where it was clear I really had to think hard about what am I going to do and I hope when you're under pressure yourself you can go back to the scores and cannot study how I was able to find those little pockets of clean iss or pockets off something that they didn't have any kind of crazy stop sign or cars in the background whatever I'm able to do something about it here for example you can see the car's moving around on the bottom left look at that yellow sign look at the green everything is just popping out on dh let's see I started going from there to cleaning it out this photo here's a little bit overexposed but her face is in showing off so we can bring down the exposure but her face was in showing enough so keep correcting the problem here you only see her nose that's a major problem so that's why you had him step back and re walk re walked those three steps okay for finally the the nice final photo which looks quite beautiful uh also cropping a little bit on the left removes the on ly kent off a car ever being there and this looks like they could be somewhere else, it could be a forest. It could be a lot of trees around, but it was just a little tiny pocket of trees and a very small angle to photograph those. If you are giving this to a client, I would definitely crop the left just a tad. I would crop the rightto violence, the frame, but in bryce are not goingto no one's going to complain about that picture, even though you took it in front of a bunch of cars, you don't really see them except with a hint of car right there, which would be removed easily. This photo was supposed emotion sometimes actually a lot of times adding motion to the pre or post is it's the key to getting people to react to them emotionally when people come and take a look at your work? I noticed that if the photos are static and beautiful, they like it, they just visually especially appealing, but when you have the photos in movement and they can relate to that movement themselves, you turning from just being visually appealing to an emotional into your photographs. This photograph is a bride being happy she's at the happiest day in her life, she's walking with her husband or whatever and that's a feeling every bride wants to feel when they're coming into your house on dh and they want to see your work right? They want to be able to put themselves in your photographs so when you see a bribe looking like this you definitely put yourself in her place and be like I want to be like I want to be her I wanna have that happy feeling in my face then I actually had to go around on dh we had teo take a look at this real quick this this goes to show me how much exposure of goingto have in my veil and how much I'm going to need to reflect back into their heads so the first picture that I took here last based on the veil and if my shutter speed is two thousand to get a veil to look like this to get detail in the veil then I determine if I need to bring a really close reflector toe match the the front of their faces to the veil or do I increase the exposure and blow out the veil? So those are the decisions you have to make? Uh look at that. This is four thousand shutter speed at four thousand shutter speed no reflector is going toe is going to give you that kind of light back into their face okay? The only option to fix this is to you either bring a flash and flatten the image which would be a disaster in my opinion or to increase the exposure on blow out the veil and that's what I did in this case. Four thousand shutter speed the shutters pieces you're photographing and give you a lot of information about what tool to use to feel the light you have reflected very life flashes on dh reflect reflector very light and flashes to fix the problems. The flash is the only one strong enough to really bring that kind of light back into your subjects. So I just I just heard, forget it, I'm going to bring down, I'm going to bring the exposure to slow it down. And when I did that, this is the result of that the photo looks beautiful, the veil has been slightly blown out totally acceptable because now the face is totally exposed properly. So take a look at the background. You see how it's all gray tones it's all great, owned such a little hint of green in the bottom, which is beautiful like a little base of green. But do you see any cars? Any stop signs? Do you see any distracting elements? Probably actually, you just don't because they don't exist and that's because of the angle, look at the soft hands on her on her left hand, look at the way she's looking. Just everything about the photo looks really beautiful and clean. This is really good problem solving this is problem solving and you could try different things in this photo she's looking at that she's looking down and she's bringing her shoulder into it in the next photo I had her look at the camera that's what really gives you a different field for the album? You could put a photo like this and you could put a photo like that toe kind of compliment it and then you can focus in the tree branch and get something like that and photographed it with a tree branch is gonna pointing at them. Look at this right there that's pretty cool. You can crop it in a little bit to get that car out of the way. But look at my aperture here my my aperture went all the way to nine point five. Otherwise they would be too out of focus whenever you have something in the foreground and you tried to photograph them in the background. A lot of times you forget to change the aperture to point eight is going to make them into a total blurry oblivion. So by having that aperture go back to nine point five, I was able to steal focus in the branch but still be able to get a couple in somewhat and focus and you can see what they're doing this is when we got called into gold to go because it was raining so when I walked in I saw a mirror and I took a picture of it to show you there's a little mirror on the right side of this entrance on dh if that's what you have to work with that's what you have to work with and you have to take cool pictures there. So so that meter gave me the idea because he had a little bit of a bevel on as you can see here you can see the bevel coming around here you can see the bevel here you can see the the mirror there. So this was just a little bit of homework that I was doing. This is the picture that I really enjoyed actually when you have something like that it's pretty cool it's creative the veil is flying through the door, you can see an abstract of course you gotta get rid of the the light switches and stuff, but it's an interesting picture you can. If you don't want to have something like that, you just wanna corrupting close, then you can go ahead and do something like this and create a good feeling and you can't straighten it and create something cool with that, um or you can use the bible in the meter to take a picture looks like this I mean, you just keep you just keep on going now of course, if you take every photo with four eyes showing up you may make your bride kind of angry but if it's one picture or two or three or four cool creative photos on you take plenty of clean photos of their face or whatever you're gonna impress people are gonna be very happy with you because you you made something out of nothing, you know? So for this picture all you see on the right there's a little hint of her face to there so I put her in the corner in order to get that on my crop tight enough to not allow any of the mirror frame to show up. So when you look at the photograph all you really see it's all these little things happening around yeah it's different here you have another one, which is interesting and is all of this and if she doesn't like to lips going around that's fine, you can block that white side and you can get rid of it later because it's a major distraction or you can stake two photos like this one and I want a little cleaner doesn't have that so much of the upper so but these are angles, right? You're gonna try things these air angle so all these variations based on just the mere so after that I actually went let me show you this photo so you can see them where the room I was working with I was working with this meter on this is just basically straight up um natural light on this is what it looks like so the first thing you should notice is how symmetrical everything is it's very symmetrical so one thing I wanted to do is have her walk on because shes walking it makes it smoothes out the symmetry in the room I may go she's walking a little bit on the right side it's no so centered on I put a flash behind her to make her look like the light is coming from actually the window so what I mean see the window in the background right there obviously the lights not coming from there the lights coming from a flash but the person viewing the photo has no idea so you went from that and I created this photograph right here so now she's exposed beautifully but take a look at what I have so it's eight hundred I'm the reason why you saved hundreds because what I said to you guys before if your eyes those high enough that life is going to hit her in the back and he's going to wrap all around her so no you do not have to have a flash in the front and in the back you can just have a flash in the back raise your eyes so and he will wrap around. Okay, there is no one she's moving is to be able to break that static feeling off the photograph. How beautiful that looks. She could just mean she could have just walking in from her ceremony. And you think your photograph for everything is perfectly balanced and centered? In fact, if you look at the if you look at the top of the wood here off the wood, whatever that would thing is called it's perfectly parallel to the top of the front of the frame. Had I tilted this, had I not that I had my camera like that. I'm actually giving a little tilt it would have taken the whole room would have gone out to the left and you would have been looking at it kind of funny. Okay, um you can see how clear that the light wrapped around her and look how beautiful that side of her face is again sending her phrase down. So if you have a bright that's curvy er if you have a bride that has a more rounder face, this technique would have worked well for them too, because you only see part of their face. The other part is in shape or in shadow, I'm sorry, okay, okay, well, then we walked into that little room that it was just kind of a random room on the left side as you enter on the first thing I noticed there was a little pocket of light coming in through the window on dh that basically to me it's like showering the room with sunlight so I wanted to bright to kind of get in there and basque herself without sunlight so instead off instead of going to the to the fireplace or whatever I let the light dictate where I was going to be photographing so basically looks something like this and then I used a frame in in order to get that whole warrior who eurest ic feel to it like you can have sneaked in see what I mean so that's quite nice here's another door from the frame so I stepped out and I and you can see in whenever you include a doorframe into your photographs it looks a little more sneaky looks more photo journalistic whenever you walk through that door frame you're not creating more of a portrait like it's more off like I mean the room to okay, this is this photograph if you were photographing a wedding like this this could be the moment you know, maybe she's thinking about whatever her future maybe she's thinking about her future maybe she's thinking about her future before she walks down the aisle this is the photo maybe that moment that really did happen the fact that you're thinking in from outside the door frame keeps you this feeling that's kind ofthe the could've happened and she didn't even know you were there so it's pretty cool okay here I decided to go ahead and walk into the room on when you walk in it becomes more about see how it goes from a from a candidate for the journalistic photograph that you cannot happen toby there you stink and you took a picture of quick it went from that two more of a portrait photograph. Okay? And I usedto basically I lowered my angle because I wanted that painting in the background to not be distracting my my my bride so it came up, it still shows up a little bit. So if I would have lowered my anguish just a tad more that thing goes away. Nothing overhead goes away. This photograph to me it's quite beautiful. Yeah, it's just different. I mean it's an auction you have a glass table. Why not lift up the glass table and see if you can get some cool reflection out of it? And by the way, this is not like rocket science or anything. If you walk by a glass table you see your reflection and reflections are part ofthe part of part of a room. Reflections are part of photography if you take a photograph go go look do research in photography you see reflections everywhere, some photography using this reflections on tables and stuff it's not like it's the first time he's been done has been done forever whenever you go around your house see if you can find a reflector a reflection on a piano or on a black lacquered surface or or now glass lying glass or he doesn't have to be a meter and that's what I'm saying you should expand your mind from just meaner er tow anything else that can cause a reflection in this case a glass table top so there isn't why I'm not showing her face is because if I tried to show everything is a little obvious on too if I show everything is going to distort her face and is going to make it look really wide because look at the lens that I'm shooting with him shooting with a sixteen to thirty five millimeter lens you can see it right there sixteen to thirty five millimeter lens on what happens with a sixty millimeter lands when you put somebody at the top is it not make him look like a fish head right? So that's not good so I lowered my angle I got rid of her head and I put the head on the reflection instead okay and last but not least this is what I was trying to do to get rid of that to get rid of the uh the the mess outside I was tryingto completely blow it out okay, the way to do is properly so maybe have two or three flashes and put on altogether all of full power okay then bring your bread and groom farther away from the light and they're going to start becoming mohr more of a contrast gonna start looking darker on the bathroom will be pure white now if you see this I still couldn't get rid of all this stuff so I decided okay, I'm trying I'm not getting rid of anything just looks like a royal mess so I just decided to go in and crop in tight and that one looks nice so when things are not working when things are not working cropping tight and that takes care of the problem so let's see what we have we have one we have that photo we have this option way have this beautiful picture here we have this one of her walking through the door frame we have this cool fashion the one with the bevel of the mirror all done in a very tight space right? You have that crazy little translucent abstract looking thing going on with this one andi you have the one where the tree branches were kind off our kind of framing them of course is the car but we can get rid of that later we have photos like this in a very small angle there was no distractions so we have to find that angle and take care of it and photograph picture post right get expression right on look how beautiful that looks like just looks like a single is background it's not distracting at all and if you think about the twenty one points when I talk about subject emphasis obviously you can clearly see how they take up the majority of the frame, right? They are the brightest part of the picture and they are indeed in focus you have all those three things happening so that's why the picture looks so clear so that was the photo shoot that's what I was thinking um also we also have this one going on in the middle ofthe basically a parking lot. Okay? So and of course we have this other crazy ones were we did with the smoke and all this other stuff that we did that I already talked about while I wouldn't say I won't talk about it again but I think you can see how we really had to figure out a way to take advantage of all the situations when you walk into a room is there anything that you try to avoid? I would say in this room may be the fireplace because that's the obvious thing or that's something that's made me really overdone um in general when you walk into rooms what are you looking to keep out of your pictures? The best way to answer that question is I tried to find where the gift of the location and the light merge together so when I walk into a room I ask myself two quick questions where well three where is the best light in this room? Second, I ask myself where the locations gifts in this room if those if the location's gives are in the same place where the best light iss it's a no it's a no brainer on the third one is um what's the obvious shot okay, sometimes I'm willing to take the obvious shot if the location's gives and the light come together beautifully like I would be almost dumb not to you know when you're in a wedding situation where you're under pressure and you have a gift that big where you have a perfectly awesome place to photograph and you have a beautiful quality of light coming in and you don't take advantage of it because you're trying to be special you know you're shooting yourself in the foot when you don't have to um earlier today at the photo shoot outside I could have put twenty to flash around the bride and all this complicated stuff would've taken half a hour right? But the sun was giving me a direction of light already that's already a big flash set up so why why bother making things complicated so when I walk into a room I asked myself three questions where is the best light that's the most important thing where the locations gifts and third what's the obvious picture and then I make my adjustments from there e ask follow question um what are some of the gifts that you love to see in a room so we talked about him a little bit on if I say if I say find something that bounces each other like something symmetrical that's a gift if I see like a orange wall that's a gift because an orange wall is going to create a contrast with her white dress if I see um a bunch of colors but they're all part of the same color family that's a gift because that gives me a non distracting background okay if I see that we're like there's not a wall right behind the bride and groom there's not no matter what their staff like in this picture here for example in take a look at this picture right there I saw death there was no wall behind them there was thirty, fifty feet off nothing behind them that's a gift because death creates romans walls create excitement or energy so if I have a photo like this with their steps like I could put you right here right now I could put you right here and photograph you with that window you could be putting on your tuxedo you could be shifted your your body weight could be shifted you could be just in your time and because of these windows balance perfectly I could get a really great picture of you without just because this right here is already a gift, you know, because those windows are far away I have death now I could make a mistake and put you I could make a mistake and put you right in front of the window and then you kill the death and that is no longer romantic you when I'll have that window toby milking away into into it's out of focus nous right photography if you have to merge your subject with the environment and that is here set and done that's really easier said than done my book a row picture perfect practice actually deals with how to merge the environment into your own subjects so the environment compliments your peter people you're photographing instead of fighting with them if I went if I took my camera right now and I didn't pay attention to the same color tone and I just took a picture with cars in the background stop signs in the background crazy flash everywhere I don't even think about the sun direction, the direction of light I would have shadows in the worst places how would have distractions everywhere and it would just be a royal mess. So instead off. So you have to take a deep breath and look around and be like, I'm looking at that window outside right now and there's a cool gray wall, single color that's a gift in this room right here. There is a symmetrical window behind you, there's curtains that are balancing each other. That's a gift. I can put you here so I can use the rule of thirds. I could make the picture black and white. I could create depth like I am right now. I could put it in this picture of two point eight and you look incredible there's a there's paint things all around his room right here. I could put the groom and have him a justice tie and laugh. Us. Yes, as he's adjusting his tie with that cool guy in the background. Kind of kind of looking at him kind of creepy. And that would be kind of a cool shot, too. Or you could have a look straight at the camera when there's a portrait of something in the background that will look really neat. Um, there's a piano in the back. That piano has black lacquer, that's, a reflect that's, a reflective surface I could create a reflection and if I don't have enough light, I could bring a video light and put it really close to their face. I could put their face closer, the reflective surface, and then you have almost a perfect meter as another gift I could keep on rolling. Keep on rolling because, you know, a lot of us have been put in situations where you have to create. You have to. You have to produce, you know, um what it is he's here. Set and done. Invite merging your environment. Tto help your portrait not to fight against it takes a lot of practice assured us. Roberto. How do you know where to place the chin? We'll replace it. Chin that's. A really good question. Um, that's. A really good one. So it has to do a lot with a job. Bones on how the jaw if you can see the jawbone, then I tried to get lighting at a forty five degree angle to get that shadow toe look toe. Really emphasize that jaw line. If you have a double chin or triple chain or ten or forty five chance, you have to raise your angle of the camera. Bring that. Chained to the left and be able to photograph because if you do that if you're looking at me right now like I have a little bit if I look at you this way and you're photographing me from there and you can see me from here you don't really see it anymore it's practically gone okay, let me see something or quick um david right now I can see your neck turn your chin to the left I don't longer see it now I don't know how far away your neck is from your chin just by turning your head. Okay, now stay right there and I'm gonna walk around and I look straight ahead now I see that now I see that you have to interest off job before your neck even starts. Okay, so you try to hide the perspective let's see? Let me try that with you, sir. So look straight ahead when your chin down now I just increase the distance between her chin on her neck. I can no longer see how far her necklace from her chin and that's a good thing that makes people look better, you know, bring your chin this way. Okay, perfect. Not you have a light at a forty five degree angle which makes your jawline looks really cool when you're chained down of it, keep your chin this way it looks beautiful I just got to get rid of any there's just very simple okay so it's good to come off if you have france was only just bring him over and turn their heads left right up down put up with the lights out of forty five degree angle forty five degree angle straight on and take notes because you're gonna have people that you get to photograph you have to get rid of that all the time so you might as well have a formula for that. Okay, so that's a good question. Okay roberto anyone else because you're doing that um I just want to get us shut up to fashion tv who is from singapore v has been asking amazing questions for the last couple of days and we skim over most of them because he asked the question he asked a question every minute but here's one from fashion tv from singapore roberto while we love to shoot motion blur images using wide apb pictures often push our shutter speed two speeds like yours of one one thousand or one two thousand outdoors how do you suggest we capture good motion images instead of freezing them good motion images like actually he wants to actually blur them he wants motion blur I mean he's he's talking about using wide open apertures and getting motion blur at the same time outdoors actually I'm not against blurting photographs to create a feel at all in five to remember one of the photos yesterday that was an accident but it was a happy accident that photo of her when she's removing when she's putting on her dress and her arm was straight down and it was a little bit out of focus I kind of find that to be pleasing to the eye not every picture has to be in focus um but you can create motion in in a lot of ways don't be I there was a photograph taken in hong kong or in beijing or something like that it was taking sort of like right before the sunset on all these people are walking in this busy part of the part of the market or whatever and it was full of emotion because the photographer put a camera on a tripod and he blurred he it was like a three second exposure or something and it's not that complicated just manual three second exposure click people are walking through it blurs everything but you can have one element that's in focus maybe the bride is in focus and that's what makes that contrast something blurry with something in focus? I love that question because it actually opens up a whole creative creative freedom in fact, if somebody went out I decided I'm going to take on lee photos where something's in focus but the rest is out of focus or I'm going to create a slow shutter book on I'm just going to create slow shutter speed stuff you're going to get quite good uh recognize it and good opportunity for shutter speed problems or shutter speed opportunities if you're walking in aa really busy area and you have your bridegroom there, why not put him in the middle of all the people or dogs or bird to whatever if you're in like st peter's basilica or something on that people could all blur while they're walking while you're still standing while they're standing there and doing something cool just something still or they could just be staring at the camera that's gonna fund it creates all kinds of opportunities so it's one alright fantastic let's keep on with questions of question from so lisa you have mentioned video light a few times can you elaborate on the advantages and disadvantages of this? Okay that the video later having using is the ice light but you don't have to use the ice light you can use any light you want I just just the ice like because it's it looks like a steak and it's convenient and it's long but there's a lot of companies out there that makes something similar, okay, another thing is you can also make you can also buy um lowell I d lights is what they're called they're made by a company called law they're called ideal lights and they're pretty powerful but the lightest johnston so you have an orange tone which is actually great for interiors so I have to tongues to tungsten lights and I have to ice lights okay that two tungsten lights or bring them and kiss them shooting in a room like this I may bring the tungsten light if I'm shooting in a room where I want to make a more contrast e I bring the ice light eso yeah so that's it the difference is also the difference you know just depends what you like if you want something tungsten or you want something that's daylight balanced so okay I have a question here from kiwi ph who is from new zealand um at your pre wedding session do you discuss what you mean by terms such as soft hands so you don't have to spend time explaining on the wedding day uh no you don't know um there's way too much to worry about at the first initial meeting with a client for us to be talking about posting the hands you have a lot more important things to discuss like the timeline because you could be a great photographer but if you don't think the time to educate your client about realistic, realistic expectations you're shooting yourself in the foot when he comes to the timeline. If my bright says to meet roberta your work is amazing or whatever I want to get all of this in my wedding I'm gonna tell her you better give me a lot of time we better we better be shooting you better see each other before the wedding so we can take advantage of what you want but if you don't say anything and then you wait till the bride and groom get married and then you finally take their photographs of the family pictures and after wedding party pictures and then the coordinator tells you have five minutes left before you have to go into the reception you're gonna disappoint him quite a bit there's so much to talk about at a client meeting that will make your job as a photographer a lot easier a lot of things people miss and tomorrow we're going toe totally focus on that client meeting stuff so great you know, I don't think we've talked yet about white balance today and ah lot of people had earlier been asking that I'm trying to find a specific question um about that but maybe just talk us through your the new white balance solution so see if I still have my uh and here's one here's one I was looking for a pope is an photography the problem is still there and would love to hear his white balance decision for this I shoot raw and j peg too, but if you get it as close as possible to reality than you have less to work to do in post and I think let's say that was earlier um when we were shooting with a flash outside okay, when you're shooting in j pick, this is why I never shooting j peg, I honestly, I don't think anybody should shorten j peg like jay biggest disaster because you buy this expensive cameras that can shoot at high resolution and then you tell the camera even though you're expensive and you can do amazing stuff, I want you to go ahead and give me just one percent of your of your capability. You know, all the color information get strapped into a tiny little color space with j peg it's tiny little puny color space so the true colors that are actually there, the computer has to manipulate him into a little s o fit him into a little color space and say you're not quite this color, but I'm going to put you in this green color because that's the closest I can find when you're shooting jay pig, it actually affect your exposure. You know people think exposure is just shutter speed aperture and s o but when you should change a ping exposure actually isthe shutter speed aperture apertura iso on white balance because all of that comes together, gets wrapped into a little pretty pretty package on in the computer gives it to you not computer gives it to you so when you're shooting in raw you don't have to worry so much about it you don't wanna have to clean is the cleanest I'm a pretty big african for using the x right color check her passport because he gives me really clear especially in locate in receptions when you have all kinds of makes lighting especially in ceremonies where you have window like going through mosaics and it's red and green and blue and yellow and then you have those tungsten lights coming down I mean somebody opens the door of the back church and he blows the whole church how with crazy light forget it it's a disaster so I grabbed this sucker right here take a picture to accustom white balance on just and to shoot away I like I said if you're shooting portrait with people different skin tones like pale or not pale this little check her passport you can warm it up you can call it down you can do a little by little just take a picture of this before you take a new location so before you go into a new location quickly photograph it and then go ahead and do your for a shoot so I have a couple questions with that you ever um the first question I had is does it matter when you're um when you're shooting I know that there's different like where you can change it to black and white there's like standard natural faithful I know it has like I know canada, nikon are different and they all have different settings, but they're different color settings. Is there anything? Is there a specific one that you have it set, too? Or is it just completely custom that's fine that's the question I actually do have it unfaithful on that's, because portrait gives me too much saturation of the colors, and I hated landscape, even saturates saturates of color. Seven more and don't forget I'm shooting in jail in raw so all of that stuff is just for the screen in the back of your camera, like that's not gonna apply that's not going to be you're not married to that on the picture. When you're shooting in raw, you're not married to any of that when you're shooting in j peg, if you put it in landscape and your people look totally orange, then you're stuck with that that's that's embedded in the into the colors base that's that's it so awesome! And then the second question I had about that, um, a little x ray thing you had do you have to do that for different? So would you do that once in here and then, like once in that room, once outside, or is it just that differently location that you moved to it is it is a little bit off a little extra work but I do do a costume why balance quickly so if I'm about to do a photo shoot of the bride and groom in this room and I'm going to take at least ten photos is worth for me it's working for me tto take a picture of that quickly put it custom way balance that takes about five seconds total and then switch it over take a picture of this from the room that takes me about two seconds so the total of seven seconds and then shoot I actually I have photos here with my with my group's oh, this is actually my laptop I have photos with my groups holding or by bryce on dh there going like this they're just kind of like, you know they're gonna holding it it it's kind of weird to tell your bride to call this for a second you don't have to come just hold yourself and take a picture, but if you do, um if you hire someone for two the postproduction and stuff this is going to basically make it a lot easier for them, so instead of paying for twenty hours of work you're paying for one you know to me it's worth it a lot of times you don't even think about this kind of thing they're just like whatever I'll fix it thank you that was really helpful you know you're welcome goodwin had a um well I wanted to go back to like when you're have ah gathering and there's more than one person like the family members um they're using glasses the glare sometimes just because of where they're they're like I don't want to move k just take a picture of us here and it's not really a good location so you know the sun is hitting straight um do you have anything that could help us with that? The reason why you have you have reflections in glasses or in anything is because the angle that your camera is in relation to your subject it's exactly the same as you're subject to the light source doesn't make sense so if you have a person here on the light source is coming from this angle this is a forty five degree angle right? If you're standing here and your camera's coming from this angle you're actually had a forty five degree angle too so you're getting the full glory off this hearing the reflection on bouncing in the same exact angle back into your eyes all you have to do is change one angle so here's your subject here's the forty five degree angle coming down hits this you have to be from you go from a forty five to a thirty five and you have no longer you have no reflection anymore that's it gone okay or another one if it's if you can increase the relative size of the light source you can make the reflection so big it will become soft like it would be this little tiny white spot in their glasses if you cannot do any of those two problems if you cannot solve any of those two things they just don't think they're glasses off and if they say no give them a good experience and shoot it with those glasses and you you did it you did your best okay but especially good question there's there's a direct correlation between the angles and how bright the reflection is and that's if the angle's match you're going to have a direct reflection okay, so that's a good one that's fun it's good one what else you guys have any other questions about today? Um I don't know if you're gonna talk about it later but I see that you're being teaching us about howto life for poor trades. But what do you do to light a room like this if here was ah reception for example like where the you said the flashes or do you have a flash all the time on your camera or just used their radios? How do you like the room to make? It looks nice we don't like, you know yeah pretty much like how do you like the room that's an awesome question and the answer is actually really interesting because at reception rooms when people are dancing and they're there in the dance for which is what the receptions all about, I'm banking on the fact that people are going to be rotating three sixty the entire time you mean for example, you're in the dance floor, right? I set up my lights I put two lights in the corner of the room like one there and one there I don't cross the lights and there's a reason for that I don't want to cross the lights because that will limit the amount off variations we can get on the light if I put the light left and right of the room I'm banking that if people are dancing they're always rotating always rotating so if I went toe back, light them to make it look like a nightclub I stand in front of the lights and I just wait till them two for them to wrote they perfectly and they just keep rotating while they're dancing and I'm getting nightclub like the entire time the cool parties especially with a kind of flashes now I can control this slash can go down in power that flash can go up in power I not you have a more realistic nightclub look going onto the photographs it looks awesome you can see all these shadows and it just looks very busy if I had two more flat, two more lights set up on each corner, guess what will happen to the reception so the people dancing exactly, it will just flattened entire I think it was just like one big flat pancake, right? So I do carry a flash on me on the camera because that camera flashes actually triggering these two lights, but it's not firing. But if somebody comes up to you and says, hey, can you take a picture of us and you don't have a flash set up in your camera? I do turn it quickly on. I turned those flights off and I think they're picture. Then I turned those flights flat flashes back on, so it is being really prepared. Look, I've shot receptions with that costs half a million to a million dollars just for the reception alone, okay? And that people have been very happy with the way that looks if you take a picture, if you have your two setups right there and you stand in this direction, you're basically letting them directly see what I mean. So if you want to do something cool like that, if I want to put a flashlight in your face but come coming from an angle, I just put myself in the same location as the lights and I shoot towards the lights towards where the lights are pointing or if I want to get a night love look I stand against the lights on then I'll let the lights back light my subjects my I s so is high enough that is going to wrap around anyway and if I don't wantto wraparound I lowered my eyes sort of two hundred or four hundred so there's so much you can do but you have to kind of experiment with it so cool that's a good one roberto do you use any modifiers on those lights in the corners? Yeah actually I don't I'm not into all the little craziness people put on the flashes sometimes is useful, but I feel like we're really carrying enough you know, um there are some times and I don't carry them in my car I don't carry that sun bounce thing that has like a war that you can just create a wall if in my in my camera bag I take that out like once every ten weddings for very specific purposes but no, I don't walk around doing that um I haven't had my diffuser with me and I haven't reflectors if I need to make the light bigger I don't put a big old crazy looking thing on my flash I just put the fuse in front of my flash I meant the flashes in the corners of theirs yeah, okay, yeah, nothing nothing I want ally to be directional if I put those count those tupperware things on top you basically flying the light it makes it like all the way around and I don't want that I want a direction of flight so yeah well we're better along with the questions that are just flowing in right now we have several comments that colorful commentary that has been flowing as well so I want to read you a couple things this's from terry keeper who was a student during the bank during a bambi cantrell workshop she's a friend of ours she says thank you for sharing your creativity and expertise you are great at simplifying the tough to explain techniques my wedding season will now be a little less stressful because of you anything that's really sweet like going terry terry isabel espinosa lip says which is garcia's roberto I really love to learn from your point of view the endo cm kraken vigorous viviendo karadi very nice thank god I was good and this susan brown thank you so much for sharing your amazing talent with us it is much appreciated and I have learned a tremendous amount and I think we just have a few minutes left so did we have one more? Yeah let's ask a final question of the day and this is from royce dove who asked other than experience did you have any mentors inspiration or reference materials that helped you develop your approach. Well, well, I don't know if you guys realized but I'm a big nerd. I read a lot we knew that I know you're kim told us that kim told you yeah, you told us I told you I'm a wife that's bad I'm even today I read a real book some photography very much every night mitts really dorky I love reading about photography I love reading books with my debut to chairman or I love reading books on all school photography I enjoy reading books on war photography and see how they handle things it's really interested to hear how photographer placed himself where the action is goingto beings that are worthy actually is at on I really try hard to kind of think about that when I'm photographing a wedding. Um there's a lot of really talented wedding for talking first out there right now that are just incredible opposing and on dh you know they're just masses of what they do on dh studying them to it's just you know, I tried to pull from many directions not just from wedding photographers. We tried to pull from many directions, but I'm still inspired by many marcus bell is one of the top you know that guy can incorporate an environment into a portrait better than anyone else in the world that can imagine you know, he's, a real master of that, uh, my friend jerry can obviously post with his ice close, like, you know, it's. Just like second nature to him, you have people like bob davis who can create anything with flashes and lights. So I study everybody, and I tried to incorporate every technique, you know into it. So on, of course, you have michael greenburg doing crazy portrait, and that are really creative with the life and the way their position and their expressions that are totally funky. What I do that in my wedding's, no, but I do approve. I appreciate that, you know, so there's a lot of inspiration, that they're just from our own industry.