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Lesson Info

Creating a Stress Free Timeline Part 2

So then what I'm going to do is I'm going to get images of her getting ready perhaps the bridesmaids are helping with the straps perhaps the mom is helping with the tiara or the veil I'm going to get images that are telling the story off her getting ready now this image over here I drew inspiration from a harper's bazaar cover um yeah it's it's almost identical but but you know it's quite funny because right now I don't want to you know step on any toes or create a hornets nest you know ruffle up too many feathers but there's a lot going on at the moment where people are talking about copying and plagiarism and all that kind of thing if you copy fashion industry people they don't care because you're awaiting photographer so I'm copying fashion images almost verbatim on dh you know that's what I'm drawing my inspiration from so it's not a case off people getting upset about that because she shoots for harper's bazaar and you know there's no issues regarding that as well ok so right we h...

ave to get our safe shots these are the shots that mom is expecting because remember mom was the one who came to the bridal show saw these type of pictures in your portfolio and booked you because that's what she was expecting so we need to get those kind of shots we need to get the shots that are going to sell in terms of your re prints and you're framed images and your canvases and your acrylic prince will be doing that a little later but you have to get shots that are nice happy expected bridal shots any questions we good you can mix up those bridal shorts a little bit you know they don't have to be one hundred percent stage door bride holding the bouquet like she's holding a baby as you saw what I did yesterday you can see here now I'm starting to bring that was a cd just touching it in on the side there at held a cd just in front of the lens there and over here my assistant had a piece of jasmine dangled in front of the lens over here just to create a little bit of depth and to make it a little bit more dynamic this shot's over here we spoke about it yesterday one led from above and we've got this beautiful hollywood lighting nice effect right into black and white and it's almost classic over here is well cd underneath the lands just to create something different send it in for a competition you know you're going to get hardly anything for it. Okay then you can start with your fashion influenced images once you've got your safe shots I know that it sounds pretty boring but you need to get your safe shots first then you can start playing uh, it's? Not about how many shots it's about how many double page spreads? Uh, two or three double pages. You have safe shots and you have these gorges vintage kind of high fashion gunshots. Please don't say vintage. Sorry. Do you have both in the album? Would you have this one looked tired. So now that goes to which pricing plan? That client is chosen because if it's the emblem that the bride has, then it will have the majority more of this and less of that. If it's the album for the mother, then it's about what the mom wants. We're not only selling one album because we're attaining the files. We're selling a lot to a lot of different people. And if you have time, if you have the facilities around you to do things like this, she knows that you can produce work like that. She's seen it in your portfolio. She says to you, I really want to do this kind of thing. Can we do something really? You know it really extravagant? Or really the florist is going to be keen because the florist will be all over that for her marketing the makeup artist is going to be yes, yes, yes that's cool, you know, will allocate a certain amount of time to that they know that you shoot like that, they are going to want to do stuff like that, you know? They're gonna be like, okay, can we get the boring stuff over with so that we can do stuff like this? Okay, now we're back to photojournalism style, you know, it's all about balance, you'll see this at the end of what you know, at the end of the three days that it's all about balance, I've bean saying that it is fashion inspired, but not every single thing is fashion inspired. You have to capture those moments, you have to have your family for miles, you know, a wedding photographer, europe food photography or an architectural photographer. You're a fashion photographer, your beauty photographer, you're a portrait photographer this is like, this is a big deal in terms of being a wedding photographer, you have to know a lot of different genres to create the perfect balanced book at the end of the day, then I'm going to shoot what I was doing all of that whilst the makeup artist was still finishing off the bridesmaid. So in your timeline this is this is very, very important. When you are discussing this timeline with the bride, you're going to sit down with her and have a meeting about how the timelines gonna work, you're going to say to her, right, I'm I'm gonna I'm gonna be with the guys from eight until ten I will be with you at eleven thirty you know, maybe you need to travel to where she is you know I'll be astir eleven thirty so you're they're creating a little bit of a buffer for yourself just in case things go wrong so from eight to ten you with the guys oh finger he arrived at the restaurant in fifteen you have your coffee relax there until eleven right let's get into the car arrive at the bride and eleven thirty when you arrived there you need to make sure that say for example this is this is quite a large bridal party let's say no let's say you on average you're dealing with two bridesmaids maybe three brides mates it's just saved two bridesmaids, for instance so you've got two bridesmaids and the bride plus you have the mother of the bride and maybe the sister of the bride who are at the house all having their makeup done by the same makeup artist. Now what is really really important is that you articulate to the bride that she is not done lost she mustn't be done first because they should be sitting around all day with the makeup on and you know, because the makeup artist going to come they're like seven or eight I know that you don't understand those collars but girls take a long time to get ready they started makeup like seven in the morning, you know? So you articulate to her and you say to her, make sure that the makeup artist is on time and make sure that the makeup artist does you in the middle somewhere that's also a very just a touch on positive language when you're dealing with your clients I I never say to somebody don't be late there's there's a negative connotation to that if I had to say to you meet me at ten o'clock don't be late, I'm treating you a little bit like a child if I say it, you call us meet me at eleven o'clock please be on time what am I doing? I'm transferring the power to you and I'm asking you to do something for me I'm asking you to respect me in terms of make sure that you're on time please just make sure that you're on time immediately you think? Okay, well, I don't want to disappoint him so I will be on time that's that's you know, just from a psychological point of view just instructing people getting people to do things that or nearly they might be a little bit reluctant to do so asking somebody to do something is a lot better you get a lot better results than telling people what to do okay, so once I'm finished with doing all the bridal shots with only the bride and I've taken maybe half an hour forty five minutes off only focusing on the bride whilst the makeup artist is carrying on with the brides mates, you might find some makeup artists reluctant to say. Okay, well, I'm going to do the bride in the middle because the sum of the makeup artists feel that they want to do. The bride lasts that she's fresh for the ceremony, but you'll arrive at the at the bridal preparation room and all the bridesmaids already and the brightest and I'm not what can I do know, you know, take a couple of shots of brides maintenance id around waiting and I'm wasting time. Well, I could be photographing the bride because make up you can always touch up, but what the way to manipulate the situation? Okay manipulates quite a strong word made the way to encourage the bride to convey the message to the make up artist that you want her to be on time is to use a little bit of fear tactic in in saying to her what happens is the makeup artist is checked ng away and starting off with the bridesmaids and, you know, having a little coffee and maybe going off for a cigarette break and coming back and having a whale of a time and loses track of time a little bit and it's like oh my gosh I've got fifteen minutes to do the bride I slept on the makeup and the make and the bride goes I didn't think of it I'm gonna make sure that the makeup artist doesn't do me lost so you got beautiful bridesmaids and then the bride who's only had ten minutes makeup done onto so use explained to her the possible ramifications shins off the makeup artist not being on time okay, so then get your your bridesmaids altogether your kind of vogue vanity fair type of shot there and you can see that the way I structure my bridesmaids poses it is very much inspired by the higher in fashion magazines where people are drapes all over each other and there's a lot of body contact not necessary, not necessarily great big smiling shots not everybody's happy but you do have balance. You could have a shot like that where they look quite seductive and I mean absolutely gorgeous on then then you could have a shot where you have them maybe chatting to each other or or if you're a funny guy or a funny girl crack some sort of joke that did you get a people you get the people smiling and laughing as well so that you could go this side of the page that's out of the page when you're doing this side of the page that side of the page for images that are one is a lot more sixty and a lot more serious and in the smiling one if you're reading it from right to left put the serious one or the sixty one on the left hand side of the page you don't want to go from you don't want to go from happy too you don't go from you know you you wanted to be you want to end off on the on the happy on the happy side of things yes how are you creating this one is that on location and a lot of background and retouched it or is that that happened this this specific image was shot at the bride's home her reception was on the tennis court at home so it was a marquis and the marquis had a lot of draping very similar to what is behind you right now on dh there is a lot of light coming from behind that shay's large was inside the bride's house myself and my assistant went up we've brought it down put it down on the floor and overexposed for the increase back light coming from behind and bang shot from the front no lighting manipulation or anything like that whatsoever I'm going to do a shot with one with the bride a little bit later on which was very exactly that technique well it's it's not did you priest outfit like majority have that in mind from a location visitor I didn't have a location visit when I arrived at the house I was ten fifteen minutes early because I don't do late so I arrived ten fifteen minutes early eyes walk around scott around take a right this will be cool maybe we can move this piece of furniture toe over there maybe we can do that right that's called let's do that and then you busy shooting and you say this is what we're going to go this is what we're gonna do next down to the reception marquis we're going to shoot there you go down there myself and my assistant have really taken the furniture down there miranda we're looking at that shot as well. So that was a great question and I whisper to lorraine said, how many lights do you think he used? Three or four really not that brilliant thank you for you're telling us about and out it's very I mean, I've watched a few tutorials and things and the guy's going island should that natural light whatever, I'm going to show you how to do it so you'll see that it's not it's really not that difficult and I think that's also a good glass comes into it making sure that your lenses are clean, you know I live in durban and there's a lot of humility and durban so it fungus tends to grow. Make sure your lenses are keen, because if you've got fungus in your in your lenses, the backlighting, you get this ghost in effect, specifically with backlighting. So few shooting a front front li lead shot. You're not going to have many issues when fungus is growing in your lens, but if you're gonna shoot back lighting a lot of the times, you get this rep around ghosting effect and you lose detail in the in the face and the way to check. The way to check for fungus is your take your your aperture little aperture arm over here, and you can literally just open it up, open it up, hold it up to the light and you can see, uh, little plants growing in the I think we might not want to do that because it can be quite depressing to know that your lenses have got fungus in them. And I think that that's also an important aspect of keeping your gear clean, keeping your gear in dry environments to make sure that you know that it doesn't happen.