Original subtitles

Hey guys, welcome to another episode on JGPT.

Looking forward to designing an album today with

you.

You probably would have seen me in past

times in Fundy Software, Fundy Album Builder, look

at a wedding that I photographed straight from

the camera and perhaps what we'll design, and

I thought I'd share the process with you.

And this is of Ella and Lachlan's wedding.

You may have remembered a couple, Sarah and

Tyson, and that was the legacy album.

That was the one with the ultrasound at

the end, and I actually haven't shared that

wedding on JGPT yet because we did film

that.

That'll be coming soon, or perhaps you're watching

this right now and it's already live, so

just double check for that.

Sarah and Tyson's wedding, and we did film

Ella and Lachlan's wedding as well, and I

thought I'd take you through the process.

It's been a while since we've done this,

and let's get to the computer screen and

give you an idea of how we do

that.

All right, so here I am in Fundy

Designer, and I would have pre-loaded the

photographs, but I wanted to show you perhaps

what's involved because it might be very first

to you.

Hold on a second, let me just clean

my glasses here.

All right, so there's many things you can

do.

I am going to design a new album,

and you can pick from many, many, many

albums.

I am with Graphy Studio, so I pick

that.

I go next, and I want to create

a wedding book, Graphy Book USA.

I click on that.

Okay, so I go next, and I want

to do a...

No, what am I doing here?

What have I done wrong?

12 by 16.

Hold on a second.

Graphy Wedding Book.

There we go.

That's what I was doing wrong.

Wedding Book USA.

Come back here, and you look at the

sizes.

I typically love to do a 12 by

16 horizontal album.

It's very conducive of storytelling.

It works out really, really well, and let's

get to it.

All right, where are we here?

There we go.

I'm not going to worry about the...

Just go basic cover for now, and then

I can name it, and I go create.

So now, of course, I'm missing photographs, so

I've got to look at this and add

photographs.

Go to my desktop here.

Pardon me.

Not sync to iCloud.

Now, let me just pick these photographs, and

I'll sort of tell you what's all involved

here.

Click and import.

Okay, guys, so let me talk a bit

about what I just did.

Normally, what I do is that I actually

choose the album, okay?

It's very, very important that I think as

an artist, if you're photographing the wedding, you're

photographing for the story, and you're photographing for

the album like many times that I've told

you in the past, it's important that you

complete your vision and tell that story.

Now, couples don't really care if you do

this as long as you tell them.

So if I tell them way from the

beginning that I will be designing the perfect

album and complete my vision because I know

what I'm looking for, then fantastic.

Many times what we do is we ask

the couple, we'll choose your favorites, and then

we'll design an album based upon the package

that you bought.

Now, it's important that you never call them

packages.

You call them collections, first of all, because

the collection grows.

And also, as you're doing it, in this

case, it's a bit of an anomaly because

without me even asking or prompting, they gave

me a selection of their favorites.

So I thought maybe for something a little

bit different to what we normally would do,

I'm going to design the album based upon

their favorites.

And the cool thing is that I'll already

know roughly what they've got involved, and then

I can add the rest of the photographs

to the project and then fill in the

gaps.

So this is an important process because right

now we're forming the foundation of the story.

We're going to be just selecting photographs that

are going to be put on the spread,

and then we can go from there.

Now, of course, Fundy Album Builder is amazing

because you probably would have seen this auto

design feature over here.

If you click on it, actually I can't

do anything while it's actually uploading, but you

click on auto design, and what happens is

that you can actually select the, like filter

the photographs that you've done, whether it's favorited,

whether it's four star, five star, whatever it

may be.

Then you can choose the amount of sides

that you want, and then click a button

and bang it auto populates.

So it has an algorithm where it looks

at when the photographs were taken, groups them

together, and tries to split them in certain

ways, and you can even highlight certain photographs,

which is really, really cool.

But like I said, for this stage, I

actually prefer to be a bit more involved

in the process, although I think that the

actual software and the design ability of this

is incredible.

I like to actually do it manually because

obviously the program can't think like a human,

so we really have to understand how this

all works, how we can put it together,

and so on.

If you're thinking about what kind of album

to produce, a lot of people do square

albums, a lot of people do vertical and

horizontal as well.

I think horizontal is very conducive of storytelling

because it sort of lays it out.

If you have vertical and vertical, then you

can fit one vertical photograph here, one vertical

photograph here, maybe one horizontal across the two

pages.

If you have horizontal, you can have two

verticals on one side, two verticals on the

other, a horizontal here, panoramic across two pages,

and like I said again, it's very conducive

of storytelling, so it just actually works really

well.

So let's go back to what we were

talking about here, and this was looking at

these photographs.

You sort of get a sense of all

these shots.

So these are the ones that they chose.

Okay, so if we can sort of go

around them, they said, look, Jerry, don't have

to use all of these, but these are

the favorites.

Now you might say, Jerry, why don't you

do this, you know, all the time?

Why don't you just choose a favorite to

make your life easier?

Well, here's the thing.

Most girls, if they design an album or

they choose their favorites, it's usually based upon

what they look cute in, maybe more biased

to the family, and have no attention to

the story.

So I'm very curious if she actually paid

attention to the story.

When I say she, because I'm implying that

it's the bride that usually chooses her favorites

rather than the groom, but sometimes the groom

gets involved, which is fantastic.

So in this case, as you can see,

you've got all the photographs over here.

What I'm going to do is I'm going

to grab groupings and just put them on

a spread, not worried about how Fundy actually

designs it or anything like that, not worried

about that at all.

It is just, I'm just placing them in

a position.

Once I do that, I want to see

if, like I said, the story evolves nicely

or whether we feel like we actually need

to add those extra photographs that we did

as well.

Regardless of that, I think we will anyway,

but let's see how we go.

All right, let's get into it.

So right now, as you can see, when

I photograph, I usually photograph for the wedding

album.

Usually, I always do.

So I don't think about the wedding album

until one photograph is taken, and then I

can go from there.

Now, as you can see, and as you

can picture, with something like this, now let's

pick one photograph here.

These two would go on a spread perfectly.

This one might be on its own, and

this one is quite dramatic.

I quite like this one too.

So I'm actually thinking that as a spread,

these two would go together, that split lighting.

Again, let's ignore the way it's being designed

right now.

As you choose the photographs, you'll see that

it just gets highlighted, and we've used one

of those, just to make sure that if

you can automatically, you can actually use the

same image twice, but it'll tell you you've

used this twice.

Hey, you're an idiot.

You should fix that.

What I'm thinking is, you see how we're

going left and right and then middle.

How cool would it be for us to

put those on a spread together, and just

to sort of do it crudely, you sort

of see how we've got light that way,

light that way, and then light, I think

they're called badger lighting from what I recall.

Okay, so let's deselect those.

In fact, they don't colour, they just basically,

it goes like a light cyan colour when

you're selecting it, but it does have a

number one there.

So you see how easy this process can

be.

Okay, so we've got the three brothers here,

and then of course we've got the other

part of the bridal party.

Now here's the thing, there's a couple of

these guys that aren't involved, so this might

be a little bit weird if we choose

anyone other than the family.

So I'm just thinking, because these are quite

traditional, and these are the brothers, I might

start off by putting the brothers here.

Don't really know where I'm going to put

this one, because without the other boys, that

might feel a little bit weird.

So let's move on here a little bit.

Okay, so we've got a shot there with

the boys.

See, even though they've chosen all these photographs,

I feel like I've got to sort of

narrow it down for them, and why make

my life difficult afterwards when I can just

choose these two.

See how they're all smiling and having fun,

there's a spread, great, let's move on.

Okay, so then we've got these two shots,

and then we've got the groom there.

Let's have a look, I feel like these

two can go together.

Then you've sort of got stationary and then

walking.

I feel like they're too similar, like you've

got this photograph here that is walking or

looking off to the side, that's sort of

stationary.

I'd rather go completely different, vertical stationary and

horizontal, rather than it being too repetitive.

These two would go together no problem.

All right, let's have a look.

So now that I, well actually there's something

that I think we should do, one second.

So you see this photograph, that's quite traditional,

but that's quite traditional as well, maybe close

up.

So that might be a good little thing

to do together, because then we've got this

shot, which would go well over here.

And again, ignore the fact that it's auto

-populated, because we can fix that.

And again, sorry for going fast here, but

this is just, I want to give you

a glimpse of sort of what I do

realistically.

You sort of see how already the album

is taking shape.

The better you do on the wedding day,

the easier it'll be afterwards.

So every so often, I'll sort of go

back, making sure that I've selected what I

want.

These are giggling, having fun.

This is different enough, but I feel like

with these two shots, they're very similar.

I feel that these two are better, so

I'm going to ignore that one.

Beautiful girl, she's got gorgeous features, beautiful eyes,

beautiful lips, beautiful energy, and it's fun, fun,

fun.

All right, so why don't we grab these

three, that are more sort of detail orientated,

and then we've got these ones.

Now you sort of see her smiling here,

then soft and soft.

The smiling will not go with with the

soft one.

So I'm thinking that we probably put these

to ignore that for the moment, because we're

probably going to get the smile coming up.

Okay, this is a detail shot.

So we put that over there, then we've

sort of got mum getting her ready.

I don't know where that's going to go.

I might put her there on her own.

I'll sort of see where we go with

that.

Perhaps I might put the traditional one over

here, and then we've got a couple more

abstract ones.

Certainly that's a beautiful spread, I love that.

This one here, I don't really know where

that's going to go.

So that makes me feel, hmm, let me

think, let me think.

I might put that over here somewhere for

the moment.

We'll see how that all pans out.

Then we have a bridal party.

I love the nephew over here, but I'm

thinking that these are cuter.

So I feel like we do like an

interactive one.

We could have him in it, but you

sort of see he looks like an afterthought

here.

So just so you know, when you double

click, you can sort of see them quite

clearly here.

Just want to maximize that.

So just so you know, with these two

screens, let me just get rid of that.

With these two screens, if I was doing,

let's say a Skype session, a Skype phone

call, I was doing this on a projector

or a big TV like this, then the

cool thing is that these two, I could

have this one on the screen that they're

seeing.

So in other words, you sort of see

how I'm also sort of demystifying it a

little bit.

The fact is that if your couple sees

how easy it is to design, it's going

to be a problem.

And it would be nice to sort of

not pick under the veil, so to speak,

pun intended here.

So in other words, I will be seeing

this perspective and the couple will be seeing

this.

As I change something, it reflects on the

bigger version.

And that way, again, if you were Skype

calling and you had a separate screen yourself,

you could actually share this screen rather than

this one.

Okay, so that's an interesting point to make.

All right, so now let's have a look

at this.

I quite like the interactive Giggle ones.

If you know me, you know that I

love, I do the traditional one looking at

the camera, but I like the interactive ones

because they say more about who you are

rather than just what you look like.

And that works as well.

Okay, so now we have the sister.

And obviously these are really cute too, so

let's put those together.

And again, we might be missing other members

of the bridal party, so that might be

a little bit weird, but who knows what

we do.

These two go together.

You sort of see how when I'm taking

these shots, if I just took one hero

shot and nothing else, then it would feel

a little bit weird.

So we need to look at how we

work from this.

Now this is a beautiful little story.

I quite like the way they're walking away.

So you sort of see if you press

this top right button, it shows you the

album spread.

If you press on this, it gives you

an idea here.

So I quite like the flow, like that

little giggle.

That looks mysterious.

I quite like the mysterious ones.

Again, if I was to choose, say, this,

they're all giggly.

This one is soft.

That one's beautiful.

Love the flow of the dresses.

One will water down the other.

So we've basically got to pick one or

two.

So I'm thinking I'm going to pick this

and this, and that will look amazing on

a spread.

So let's get those two.

One second here.

And let's drag them here.

All right, so now we've got some more

traditional ones.

And I quite like these two, and they're

walking, and that's quite traditional, but we've sort

of already got that here.

This is full length.

I guess by the time the wedding day

finishes, guys, they'll always be usually a full

-length version of that, and they'll also be

a close-up version of that.

Then you could easily do something like this,

where it's a very easy way.

So you sort of see that little giggle,

and then I focus on the bride, then

focus on the girls.

I quite like those two.

Let me look at these ones.

That's traditional.

I quite like the way little kid's doing

his thing there.

Beautiful smile.

That's cute.

She looks a little bit weird, that expression.

So I feel like I'm going to pick

this one and this one.

They have similar sensibilities and same color palette,

so I feel like that will go well

together.

All right, fantastic.

Okay, this would go well together.

So there's two shots there.

It's a little bit laggy, guys.

As you'd appreciate, we're running different computers with

different monitors everywhere and hooking up to our

live editing suite, so sometimes it can be

a little bit laggy, if that's a word.

These boys are really, really cute here, so

I feel like they could easily be spread.

I quite like this one.

I quite like this one because his expression's

a little bit absent.

He's looking at the camera.

He's about to smile, but that seems like

a logical progression for those three photographs.

So guys, can you see already that I

haven't even left the bride's coverage, okay?

I haven't even left the bride's coverage, and

we're already at about 40-odd sides.

It's ridiculous.

This is what I'm saying, is that many

of us, what we do is we do

hourly coverages, and when you do hourly rates

within your collections, that you get to a

point where you say, okay, this collection includes

six hours.

The bride says, all right, I need you

up to this point at the reception and

work backwards.

For example, she says, I want the father

-daughter dance, mother-son dance.

That'll finish at about 7, 7.30. Let's

round it off at 8 o'clock.

I booked you for six hours, then let's

work backwards, go 2 o'clock.

That gives you half an hour with the

bride, no time with the actual groom or

their family, respective families, and that's it.

You've got no time.

You can't do anything right now.

So I'm saying to you guys, give yourself

an opportunity to create a beautiful story, and

now in this case, like I said, we

haven't even really finished the brides yet, and

we've already got 40 sides, 41, 42 sides.

Guess what?

They booked on a 40-sided album, for

goodness sake.

We haven't even started the story of the

ceremony.

We haven't done any of that at all.

So just make sure, guys, give yourself every

opportunity to tell a beautiful story, and certainly

maximize your sales.

Why wouldn't you?

And that's not a dirty word.

People think it's like you're less of an

artist if you make money.

It means you're a smart artist, not a

smart ass, a smart artist if you do

that.

All right.

Don't forget too, guys, the actual design that

we're doing right now, we'll change the order

of all of this.

We'll change the order, but for the moment,

it's more about just which photographs go where

and all that kind of stuff.

Okay.

This is a beautiful story.

I love this.

I love the fact that she's freaking out

a little bit, then that beautiful soft look

down, love that, and then you've got them

looking back.

So that is worth a story on its

own.

Do we want this one in there?

She's in a bit of a half blink.

There's probably other photographs that she had that

I took that probably weren't included in here.

I don't remember to be honest, but I

feel I'm going to sacrifice that sort of

story of coming out of the car because

I feel like this is so powerful that

it deserves a spread on its own.

Let's keep on going here.

This cute little kid, we've featured him many

times already.

I feel like it may be a little

bit of a waste, and I feel that

these two photographs are so powerful because you've

got her anticipating the bride coming up the

aisle, and it looks beautiful.

So remember guys, there's times when I do

multiple photographs on a spread, sometimes it's usually

the ceremony, and it's usually family photographs, and

it's usually reception.

So in this case, I feel like when

the photographs are powerful enough, and knowing that

we're probably going to do a couple of

spreads that are similar, similar as in quantity

driven, I feel like when I know that's

going to happen, I make sure that what

precedes it is a a single photograph and

featuring less and all that kind of different

thing.

Okay, so I feel like these potentially could

go well together.

Certainly those two could be a spread on

its own, but I feel like when we're

just starting to get into the actual ceremony

part of it, these, I would rather start

off with this.

So let me come back here and choose

those.

Let me just put them to a spread.

It's just taking its sweet time here guys.

All right, so again, that's beautiful.

Let's keep on going.

So now, this is an important one.

See how you've got the parents being featured,

parents being featured, and then you've got sort

of two wider ones.

This is where sometimes you don't have to

be chronologically perfect, so to speak.

I feel like this spread is a great

view of front and back, fantastic.

Then you've got the parents there as well,

so maybe we do a spread of reactions,

but then you've got the ceremony part of

it.

So I feel like we should do this,

this, and come back here.

Before I drag them to a spread, I

want to see what other ceremonial shots we've

got.

Okay, then we're pretty much all but done.

See, you see what I'm saying?

I would have picked more photographs for the

ceremony.

They've picked less, but it just depends on

what they want.

But then again, I believe that I can

add some more value by creating some more

angles and bits and pieces.

Okay, so we've got this, and then you've

got the one across the lake, and that

I believe is deserving of a panorama on

its own.

Let's do these two on its own, and

sorry if I'm sort of scrambling.

This is what's going on my mind.

I'm trying to think out loud to give

you an idea of what I'm doing.

Then this one, so you've got one set

of parents and then the other set of

parents, but one's a bit softer mood, one's

more laughing.

I prefer them to be a similar expression.

Whether we got that or not on the

day, I don't really know.

Again, I forget.

So it's one of those things that I

put all my efforts into the wedding, and

then once I click that last shot and

I drive my way home, I don't really

think about it until I get through this

process again.

All right, so this one is deserving of

a spread.

See, how cool does that look?

So you know that when you're designing the

album and when you're photographing it, you really

should be looking at these different things.

Obviously, this little boy is very special to

the couple, so that's why they've chosen a

lot.

So I feel like we should do a

spread of him on his own.

So there's that, and then you've got the

fist pump there, and I think that that

deserves a spread on its own.

Let's drag it there.

Again, guys, look at it.

We're already up to 60 photographs, and there

was about 900 photographs that I delivered to

the couple, and I'm only looking at 200

odd, so you can sort of imagine the

potential of when we add the other photographs.

Okay, we've got a little boy there.

We've got that.

Okay, let me go down.

I feel like these easily should be on

a spread.

Then you've got some reactions here and the

signing of the registers.

I actually didn't notice that photo before.

I love that.

Isn't that beautiful?

You've got parents, grandparents, the handshake.

Love that, love that, love that, love that.

There's the reaction.

There's the signing.

I want to see if there's any other

reactions.

There are.

Okay, so what we do then, we've got

two photographs here, one focused on him and

her.

We've got reactions.

Let's do signing on one spread.

Oh, let's go there.

Oh, there we go.

We command click.

It's a little bit touchy here because, again,

so much is going through.

We've got the signing of the best man.

Come on, wakey, wakey.

We've got mum there as well, and again,

sometimes it's good to put a few more

photographs in than you probably think because then

you can give you something to sort of

delete, so to speak.

Sometimes couples need a win, and if you

put more photographs than suggested, so to speak,

or even encouraged, then it can work out

really well because you've got somewhere to go.

Now, I feel like this is such a

powerful shot, and grandpa there, it'd be fantastic

to feature him on his own, but then

again, we've got other ones here.

Let's put all the expressions on one spread,

and let's see if there's not too many

or not.

Okay, we had asked for a ladder.

Oh, I didn't get that one in there,

so let me just put that somewhere in

there.

We can work that out.

Keep on going.

Let's see.

We've got this one, and we've got a

couple of big group shots here, so I

quite like this.

That's nice, and that's cool too.

I feel like if I'm going to get

anything, it would be two photographs here.

There's so many people involved in this shot

that I feel like these two are the

ones that should be featured on their own,

and again, Fundy's just designing whatever it wants

to design.

It's sort of just thinking out loud here.

See, we have some other ones here too.

I'm just thinking whether it deserves a second

spread.

Oh, there you go.

See, I'm not stupid.

Okay, so when I'm photographing this, I know

that I can just bring them close in

the foreground, and then all of a sudden

have them kiss in the foreground as well,

and that gives me an opportunity for a

whole new spread, so I feel like, say,

that one and that one.

There's another spread, and I've sort of forfeited

these ones because I think we've got that

before.

This is a beautiful photograph, but what do

we do?

See, I think that one can easily go

here.

Yes.

Otherwise, it starts getting repetitive.

Kiss.

Yeah, I'm happy with that.

That looks good to me.

All right.

This family I've had a great time with,

and again, you may have remembered Sarah and

Tyson, a beautiful couple, so you may remember

this couple that I photographed.

That's Sarah, that's Tyson, so now they have

a child, and now I'm photographing the brother's

wedding, and no doubt I'm going to be

photographing the other family as well.

The other brother, so that's really cool.

All right, so we've got quite a few

family here, and you'll notice that there's family

without the bride and without the groom.

Let's go back up for a second.

So you remember that looking at the groom's

coverage, a notable omission here was the fact

that we've got no family at the groom's

home, nor do we have any family really

apart from the mother in a brief moment

at the bride's, so what I ended up

doing is I ended up photographing those shots

independent of the bride and the groom from

each other to have those featured on a

spread there as well.

So you can sort of see the blood

family, then you've got the blood family again

with spouses and kids, and then a bit

of a giggle, then you've got mom and

dad.

So what I'm going to do right now

is throw these on a spread and move

them if I have to.

So we're going to grab this one.

This might easily be two spreads, but for

now there might be some repetition in there,

but let me just drag them on and

see what that looks and feels like.

Then let's go a bit further back.

Okay, so now we have the bride's side,

as you can see, independent of the groom.

So let's see how many we've got there.

So she has a smaller family, so you

can sort of see it sort of just

pretty much goes up to there, which is

totally fine.

Not going to worry about that for the

moment, but we've got the bride independent now

of the groom and vice versa.

Now with these kinds of shots, because the

bride is not there, just so you know,

what I'll be doing is I'll be moving

this up so we have them somewhere here.

So see how we've got the groom, then

we'll put the family over here and maybe

we don't want Oh, actually, what's going on

there?

Why did we, did we repeat that?

Or was that a glitch?

See that?

There's got two spreads of the groom there

and the exact same shots.

I just want to feel like, did I,

did I repeat those?

I must have.

Okay, so we grab this and we delete

that.

And if I was finishing off with family,

well, that's just it.

I don't think I would finish off with

family.

Arguably I'd maybe do one more of the

groom to just sort of introduce you in

there because we have shots of the groom

there beforehand.

All right.

Very good.

Let's now go back to where we were.

We're up to the family photographs.

And now we're actually choosing family.

So basically the bride and groom are in

every shot now.

Well, I'm assuming every shot.

So let's have a look.

You've got grandparents.

Okay.

So I would choose all of them.

Probably not the kids at this stage.

We've featured them quite a bit.

Looking at this shot, this might go up

somewhere where we had the kids beforehand.

So over here, for example, do you see

how we have the same ground and color?

So I might just put this here for

the moment.

Just let it go and see if that

fits there because I don't think it's deserving

of another spread.

And then we'll see how we go.

All right.

Let's come back here.

So now we have all the boys in

the family and here we have a very

quick bridal party shot.

So I feel like, let's see here.

We have the bridal party.

We have the groomsmen.

We have the little boys there.

One second.

Let me click that again.

And then we've got the girls as well.

So that might be a spread on its

own.

It might be two spreads.

Not too sure at the moment.

Okay.

So now we have, we didn't have much

time for locations, but we just went for

a quick little walk.

And I feel that, obviously these are quite

repetitive.

I'm just trying to work out what the

difference is.

Okay.

So you've got the veil moved up a

little bit.

Don't think that they're worthy of all being

in there quite like this one.

And this seems sort of like a logical

progression of that.

So let me put those there.

This one could potentially be on its own.

Sort of see how, you know, maybe just

there, or we maybe even bring it up.

I'm not too sure yet.

That actually could be the first page, possibly

the last page.

Let me leave that there for the moment.

Okay.

So obviously I'm shooting for the wedding album

here.

You can see very clearly that I'm focusing

on one than the other.

And then I give myself an opportunity for

another spread very, very quickly.

And these aren't groundbreaking photographs guys.

These are traditional full length, traditional closeup, a

little bit of fun with the dress and

the veil there as well.

They're pretty much the same photograph.

One's close and one's full length, but they

do have their place in the album.

So let me do that.

All right.

So now let me have a look.

I quite love these photographs.

This is quite fun too.

This might even go with this.

Don't know yet.

We'll see about that one.

And I love these photographs.

Okay.

So now we're getting somewhere.

They were walking back.

These are deserving of a spread together.

Let's see.

Yeah, that's beautiful.

Okay.

Again, we've got the couple here.

So just so you guys can see it

closer.

You've got that and that.

So I feel like they can go on

a spread together.

Come on.

Yeah.

Come on.

There we go.

Then this definitely deserving of a spread together.

I love these ones.

You can sort of see when you don't

have much time, you can quickly create different

looks that give you an opportunity of somewhere

to go and grow.

Now this one just seems, I don't mind

that shot.

I was first going to dismiss it, but

then I looked at it closer and I

quite like it.

Now these ones are pretty similar.

I think it might be fun to have,

see these two together.

You sort of see how I've cropped him

at the head and you've got that horizon

matching that horizon.

I think that would look really good on

a spread on its own.

The question is these two, do we put

them somewhere or not?

Or do we perhaps even start the album

with one of those photographs?

You would have often heard me say about

the horizon is to basically put them head

and shoulders above the horizon.

The problem is then I would have chopped

them at the head.

This was almost like the lesser of two

evils.

If I went too far down, there's only

white sky.

It just felt a little bit weird.

So I felt I'd just get them just

above the environment and within the trees.

And that's why I did that.

Or we can even do something like this.

Perhaps if I squatted down a little bit,

that would have worked.

But we'll see how we go.

Now, the question is, I think they're too

repetitive.

I think I'm going to leave that alone.

This one is a question mark.

These ones are quite dramatic.

I think they're a nice little finale to

the locations.

So let's put those there.

Bang.

Okay.

I'm just thinking about these.

623.

Sometimes in the back of my head, I'm

actually thinking, do I use one of these

photographs for the start of the album?

This is quite fun.

May not be as powerful enough, I guess,

for the front page.

I'm just thinking here, if I grab 607

and take that out.

So take that one out.

See, even that can work.

See, quite like that, sort of closer.

And then what I might do is go

back here.

Even though that traditionally a walking away shot,

you might think, well, let me, you know,

let me end with that.

It just would look weird with the chronology

of the album.

So I'm thinking that that might be a

contender for the first page, the title page.

And of course, I'll probably do something like

that with it.

But I don't really know.

It doesn't, yeah, I don't know.

I'm conflicted about that.

Maybe that's where these can come in because

they've chosen a couple and there's a little

bit of flow there.

Yeah, I don't know.

Again, these are the thoughts of a photographer.

Let's come back here and let's start looking

at the reception and speeches and things like

that.

Okay.

So we've got some really fun reaction shots

and coming in, got a few little detail

shots here as well.

So let me choose those.

Let me see if there's anything else.

As you know, I usually prefer detail shots

with a heartbeat.

In other words, where I can see the

couple and all that kind of thing.

So now I'm just going through the actual

photographs and what they've chosen for the reception

to see whether there's any other detail shots

that sort of need to be there.

As you can see, it's getting a little

bit later.

There you go.

There's a couple more detail shots.

They may not go because they're photographed at

night and maybe have a different color feeling

and palette and all those kinds of things.

So let me come back here.

Let me grab all these.

Then there's detail.

Then you've got walking in and I feel

like the walking in are so much fun.

They probably deserve a spread on their own.

I'm not too sure why everyone wasn't chosen

to be in there.

Again, they may have chosen their favorites without

paying attention to the story.

So that we have to be wary of.

And I quite like this and this.

Again, sorry for the lag, guys.

It's just there's so much going on on

the computer here.

The CPU is being eaten up by the

program, let alone all the feeds that are

into it to make this live editing live

here.

Let me just drag these onto a spread.

You can see again already we're already up

to 96 sides and have only chosen from

the 220 odd favorite shots that they've got.

We've got 700 other photographs to choose from.

So be curious to see how we look

at that.

Okay, so now we have speeches.

We've got great reactions.

And how far do we go with this?

I feel like if we put too many

on a spread, because these are already too

many, as in above and beyond this, it'll

just get ridiculous.

There's already 13 there.

And I think that that's okay for speeches

and reactions.

But that's a dad's speech.

And perhaps the matron of honor.

So then we've got the guys.

And actually, you can see the color palette

has changed, because now it's getting darker.

And I'm using my famous bounce flash technique.

And we've got some really cool reactions.

The question is, how far do we go?

I think we go up until the hug

of the dad.

And I think we're probably going to get

about the same number of photographs on that

spread as the previous one.

There you go, about 10 to 13.

No big deal.

That works really well.

Okay, so now we have the groom's speech.

It was really quick, to be honest.

I didn't have enough time to get really

too many shots, but I got enough.

Love the reactions from everyone.

And then I'm going to stop it there,

because that's the end of the speech, of

the groom's speech.

And then now we have the cutting of

the cake, and then a bit of a

dance.

So let's do that.

Now we're looking at dancing.

Actually, let's just throw those up here for

the moment.

And normally, what I like to do, guys,

is what I call like a sea of

celebration.

And that is...

Look at that face.

So funny.

So I guarantee you there's more photographs that

we can choose from.

I think they just chose loosely without the

exact story.

Let me drag those on.

All right.

So that's pretty much it, guys.

Let me show you where we're up to

here.

And let me sort of get rid of

this for the moment, make it all small.

You can see, you get a sense of

what's happening here with the story.

The more you photograph for the story, the

easier it is to design and throw those

photographs on a spread like I'm basically doing

now.

So as we're scrolling down, you sort of

see that the album pretty much designs itself.

It does this on itself in Fundy, but

in terms of refinement, we'll do that in

one of our next episodes.

But you get an idea of how easy

it is to design and actually how much

opportunity you have in actually selling the album.

Now, what I'm going to do in the

next episode of Ella and Lachlan's wedding album

is that I'm going to upload all the

other photographs and then see if they've actually

got any photographs that they've obviously missed.

Maybe, again, they paid attention to only what

they look really good in, maybe bias to

maybe the bride's family, which I don't actually

see.

I think that's very well balanced.

And of course, no attention to the story.

The story is there, but I feel like

we probably could get more at the ceremony,

more at the reception, and then balance it

up a little bit.

And then we can look at the color

harmonies and make sure they all match and

all those different things as well.

So in our next episode, what we're going

to do is refine them a little bit,

put them together a little bit closely.

In fact, I'll tell you what we'll do.

Let me see if...

No, we'll do that next episode.

This will take a little bit long to

do.

And I feel like I want to contain

it within one episode.

So we're going to leave it at that.

The next episode, we're going to add.

Once we add to the story, then we're

going to refine, and then it'll be a

lot of fun.

So I hope you learn a lot from

that, guys.

It's an obvious, really, the biggest lesson here

is not about the software.

It's not about...

Really, and the shots are good.

They're solid.

They're bread and butter shots.

I wouldn't call them anything amazing.

They're just good bread and butter, solid photography.

And there's some beautiful moments there of the

story.

Make sure you photograph for the wedding album.

And when I say that, you might think,

well, Jerry, of all the stuff that you've

taught me, I'm getting overwhelmed.

What the hell do I do first?

I've got lighting.

I've got posing.

I've got to connect with them.

I've got to emote.

How the hell do I do all this?

Well, first of all, one step at a

time, slow down.

What I want you to do is do

not think about the wedding album until you

take the first photograph in that scene.

So in other words, when I started taking

these photographs, this one here in particularly, I've

got to tell you guys that it was

raining.

It was dark.

It was an issue.

And I just had my ice lights with

me.

So I bought two ice lights.

And then I got that beautiful film noir

kind of look, which obviously is very masculine,

would suit very much the groom and all

that kind of thing.

I thought, fantastic.

So I grabbed that and I took that

first photograph.

Then I added this one.

And then let me just take the guides

off there.

By the way, you press G a couple

of times.

It'll give you guides.

And with this one, this is what I

wanted to do.

This is the actual spread that I was

thinking of when I was designing the album.

Looking away, looking to the right, and then

the middle with a little hint of detail

in there, which any groom is going to

freaking kill for something like that.

I would kill for something like that.

I think it's actually really, really fun.

So like I said, don't just take one

shot and be done.

You've got to say what's going to go

with it.

Unless what you're taking is a hero shot,

unless it's something like this one, that could

have easily gone with these two.

But we've already got one that's wide.

Let's get rid of the names for a

second.

And by the way, you press N for

that shortcut.

So you've got one from the front and

then one directly from behind.

I was standing behind that little archway.

But this particular photograph, you know it's going

to be featured on its own.

So perfect.

It doesn't have to go with anything else.

So there you go, guys.

It's not as intimidating as it may sound

to design an album.

For those of you who are not designing

albums, my strong encouragement to you is this.

Guys, JPEG-only weddings, I know that there's

a huge market for it.

But I'm telling you now, there is a

huge market to offer your albums, not even

selling them.

You're guiding them.

You're actually prompting encouraging them to create a

beautiful heirloom for their clients.

And it's such a waste of their legacy

and your legacy just to give them JPEGs

only because they insist on doing the JPEGs

on their own, the album on their own.

I'm telling you guys that I personally will

not photograph a wedding unless they get a

wedding album.

It is a waste of my time, my

talent, my philosophy.

And I guess the fact is, I'm just

dying for them to have an album.

This over here, again, people find it very

intimidating, but you can see how easy the

software is.

And if you photograph the wedding album, it

designs itself.

And I'm telling you now, they booked on

a 40-sided album.

What happens if they cut out 40 sides

for this album?

You tell me which of these 40 you're

going to take out.

I have no idea what you would take

out.

But let's say you took out 40 and

you were left with 60.

And let's say you got 20 more sides

above your collection than you intended.

And you charge 100 bucks per side.

There's $2,000 more.

Add that to your bottom line, times that

by 20 weddings, there's 40 grand.

What a great life and lifestyle that is.

So anyway, guys, shoot purposefully, design purposefully, guide

your couple purposely for a beautiful and meaningful

album.

And trust me, it'll be very fruitful for

everybody.

Thank you so much.

We'll see you next episode.

Looking forward to adding some photographs and refining

this album.

Thank you, guys.