Now, what I'd like to do is change the mood of the light a little bit. So, guys, can we have the curtains, these two curtains, let's cut as much as possible, the light. Even these ones if we can. Let's get a bit more controlled. You see what happens when we shut those windows? The light totally changes. Now my light is basically coming from there. Yeah, that's it, perfect. Now, sorry your back is on the bride. Best view in the house. I'm gonna utilize the video light to show you what I can achieve with it and the flash. If I take any shots of Isabella like that, it's not good so I can overexpose or underexpose but there's no light on her face. If there's no light, it's not good. What I do is, with my Profoto, I will eventually get an assistant but let me demonstrate first. Usually, I used to carry two lights, one for flash, this completes both for me. What happens if you do this? It's creating mood, it's creating a warm tone to the subject. What I need to achieve, is take a capture...

of the background first, make sure the background is right. Then, edit the light with the things for light. I'm gonna do two combinations, one with flash and one without flash. Okay, now, I lost my camera. (laughter) Who took my camera away? (laughs) It's you is it? Can we come over this side so we can... Isabella, you stay there, you're fine. I'm gonna use the back windows for a background. Let me take a shot of the background. The background is quite light, quite bright. I want a bit of texture there. There's not much happening there if I expose for the background. What I need is a bit more details in the brick, a bit more detail in the brick. So, let's try again. Let me change my exposure. And, perfect. The background is coming alive now. Isabella, can you move more over here? Let me try one more time. Let's have a look. The background is nearly right now the brick, I can see the details. All I have to do is, can I get an assistant please? If you put this on your shoulder, we'll kind of move you forward and backward. Although the background is still not exciting I'm still checking the exposure first. Let me turn it on. Can you move in close, quite close. Go closer, that's it, stop there. Isabella, look toward the light. Coming up. And it is there, you can see it is starting to happen. Because the background is quite bright, I need to balance it a little bit more. For this session it's not the best idea but let me reduce the speed, let me increase a bit of the ISO, so 640 and eighteenth of a second and try again. That's it, that's nearly it. That window has become a distraction. When you have a distraction in a picture, it's not good. So, it's not gonna work. What we're going to do is move Isabella closer to that lamp there. Okay, darling, stay there. Can I get you over this side, just next to the lamp. More behind it, okay. There's a nice light coming from that side but now I need to fill her with this video light. Can you go over this side, sweetheart? Go closer, that's it. Isabella, look here. Beautiful, let me change a bit more. Great, and now I've got my exposure. Now, we're gonna have fun. Put your arm on that light, no, not on the table, let's see without putting too much pressure. Just lean towards it, that's it. Lean forward towards me, expression sweetheart. You see what's happening, that warm light, the warm light at the front and the daylight, the mixed lighting is becoming quite an interesting look. Can you put your face forward? Can I get the light more in front of her? Even more closer. Let me show you where. Now I've started to create a new look with using that light. Yeah, and look at the camera. Perfect, that's it. Let's do another one. Perfect, let me turn toward me, slightly. Come over here on the side. You see what's happening? There's an oddly power or something there I want to avoid that. Go slight closer, that's it. Turn around towards me. Beautiful, that's great. Isabella, turn your face toward the window. This way, that's it. Lean closer, yeah, that's it. Stay there for a minute. Now, ready, smile, happy. Isabella, this, and bring your face forward a bit more, that's it. Stay there. Look at the camera. Can I get it just a bit off power. When I saw this light, I said can I have that light for a shot. I always look for something that's gonna give me a bit more difference. I try to create a similar mood as the cafe shot. Now I'm gonna do the reverse. I'm gonna bring Isabella back here and I'm gonna try to fill in with the flash because flash is gonna be the only one. Taking over the back light. Can I grab this, put that on there. Oh, I love that, it's so pretty. When I finish this, I will clean up and I will make darker the background. I will try to bring drama into the picture. Those lights, more shiny and more contrasty. I imagine the final picture always when I take the picture. The brick doesn't excite me but the brick is not gonna be there for long. I will eliminate it. Isabella, come here. I have my remote, this time I'm gonna do what I did before, expose for the background. Once I've got the exposure right. Isabella can you move slightly over here that window, the thick part of the window is not great. What I'm gonna do is bring my flash in and let's take a shot, it's manual setting so I'm gonna take a shot first. Can you tilt it slightly the other way. A bit more. And move back. All right, let's have a look. Let me increase the power of it. Isabella, I think I'm ready. Let's move, beautiful, perfect. Keep go forward a bit more. What I've done is, I've exposed it for the background and I'm filling with the flash. You see, that's not a great picture because she's looking away. So, my light source is here. Can you come more over me. Let's go forward, sweetheart, that's it. Perfect, stay there. Beautiful. Try to frame her inside there. That's great, one more. Basically, what I've done is created reception fill so record what's in the background, you see the bricks are in detail there. Then, fill it with the flash. RAW format, this is not the best place to photograph but I'm giving you example. Let's do a couple of shots the way I like to photograph. This is why I don't like backlight because it's alright but it's not me. I demonstrated this to give you feeling what I do at reception. I need to get details in the background, I fill in flash so that the light is balanced. When I have such a beautiful light everywhere, Isabella, go there sweetheart. That warm light again, no flashing. Do you want me to sit? Can you move actually, let's move it slightly over here. Can I get the light here? Just go closer, closer, closer. I'm introducing a bit of warm light here. Let me turn off the flash because I don't want flash. Can you have the light a bit more closer to her. And lower, lower, lower. Isabella, look toward the light. And bring your eyes toward me. Your hand, don't show me the back of your hand. Oh hold on, there's no action with my camera. (laughter) Come on camera, that's it. Can you really bring it down for me.

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Yervant

Yervant (Zanazanian) is an internationally recognized wedding and portrait photographer based out of Melbourne, Australia. He is a member of AIPP, the <a href=" http://www.aipp.com.au" target="_blank">Australian Institute of Professional Photography</a> where he has established himself as one of the most awarded photographers in Australia.

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topics covered in this class

Wedding Photography Business Portrait Photography

Ratings and Reviews

a Creativelive Student

I am SO grateful to CreativeLive as well as Yervant for taking the time to put on this class. So many times while sitting in this class I thought to myself "what have I been thinking?!" I have so much to learn! I loved hearing about Yervant's process for creating images, but what inspired me even more was his advice on how to view, and treat yourself as a professional. I completely agree when he said photographers are creative but we are "terrible business people." But I aim to change this in my business from this point forward, thanks to this class! Yervant's advice on how to value, protect, and sell your art is priceless. I have always valued printing and creating products clients can hold, but I don't think I understood the real emotional value in it until this class. When he pulls those images we just watched him create for the last two days, off of that printer, and they are there before our eyes, I had an emotional reaction to it. I want my clients to experience the same, so I must value it and create opportunities to educate my clients. Thanks for the kick in the pants that we all needed Yervant! And I hope this will not be the last time I get to experience your education in my life. I said this many times to other students during the class, but I will say it again here, I want to carry a mini Yervant with me every where I go! Thank you Creative Live and thank you Yervant!

Claudia Montero-Kubli

I love it!!!!!! I am so inspired, I learned a lot! thank you Yervant for sharing your Talent with us this two amazing days! Thank you to all the CREATIVE LIVE staff you are awesome!!!! best time! I want to come again!

a Creativelive Student

Yervant’s ardent love for wedding photography and capturing his brides in their best light is unquestionable. His love for this photography community and his regard for our respect in the world hierarchy is without reservation. Yervant’s willingness to share his knowledge and skill for all these things to come together is beyond generous. These are some of the things that help Yervant to effortlessly stand out as a photography master and this is exactly what this class is about… plain and simple.

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Shoot: Capture Reception Look

Shoot: Capture Reception Look

Lesson Info

26. Shoot: Capture Reception Look

Lessons

Class Introduction

Client Focused Wedding Business

Marketing for the Wedding Business

Pricing & Sales Strategies

Wedding Client Interaction

Find Your Photographic Style

Gear, Lighting & Camera Settings

Capture the Bride Getting Ready

Bride with Dress

Connection with Family

Bride Dressed with Bridesmaids

Detail Shots with the Bride

Putting the Veil on the Bride

Bride with Family & Bridesmaids

Leaving the House for the Ceremony

Arriving at the Ceremony

Capture the Ceremony

Formal Pictures After the Ceremony

Detail Shots at the Location

Bride & Groom with Bridal Party at Location

Bride & Groom on Location

Street Location Shoot with Bride & Groom

Demo: Bride Interaction

Shoot: How to Pose Your Brides

Capture the Wedding Reception