Original subtitles

So what you're about to see is me

literally, quite frankly, running into the reception.

I had about five minutes to shoot the

reception.

Now, in a previous lesson, I spoke about

how I talked about how I educate my

clients to give me 15 minutes.

Well, I educated and it did not work

out for me that way.

And I knew that because there was a

lot of moving pieces.

Things were running delayed.

It was really bright and I wasn't given

what I normally am given.

I had to make the best of it.

You're going to see how all of that

unfolds.

So let's talk about what we're going into.

We're going to see, we're going to see

me shooting elements of the reception in small

details because we were working with a lot

of broken light.

We had bright light and then we had

open shade.

So because I'm going into that, I had

to make the editorial decision to shoot a

lot of tight photos.

You're going to see how I approach it.

You'll see how quickly we do it in

a matter of five to 10 minutes.

I was working with JD and I was

working without JD.

You will also see me use a diffuser

or a scrim for a lot of the

photos because I knew I was going to

be shooting a midday open outdoor reception.

I brought it and it was a complete

live cyber.

So that's where you're going to see me

going into.

We're also going to be showing how we

shoot the grand entrance and the first dance.

We're talking about toast.

You're going to see a shoot, the father

daughter dance.

You're going to see how we shoot dancing.

So all the stuff that's usually traditionally the

stuff that's kind of like, yeah, I got

it.

Well, let's just up the ante and shoot

it in full sun on a hot day

with no shade whatsoever.

That's what you're about to see right now.

So, um, what's going on right now is

I have about a couple minutes to shoot

everything.

Once the bride and groom sit down, I

need to get them.

Everybody's worried about the flowers because it's so

stinking hot.

So I just need to make sure that

I'm shooting everything in shade to the best

of my ability, but everything's broken light.

I'm going to choose this table because I

think it's the prettiest and it's all continuous.

So I've noticed that, um, that, uh, everything's

already set.

So I have the wine, I have the

champagne, but I don't want bread rolls.

So I'm going to take the bread rolls

out of it.

And I'm just going to shoot it to

the best of my ability.

I'm shooting this at a 200 ISO.

I'm at 2.2. I'm going to shoot

the table number.

Now I have sweaters and jackets in the

background that I need to remove and that

I will place later.

So the table numbers aren't.

Okay.

So I'm at a 2.2. I'm at

12 50th of a second and 200 ISO.

I'm way too, I'm at 3,200 shutters.

Food now.

Okay, great.

Oh my God.

This is gorgeous.

Perfect.

Cause I'm right-handed.

Taylor's left-handed.

Perfect.

This is how we always sit.

Okay, Sam.

So you just, yeah, you just, you just

well, we get, they're not in shade anymore.

So let's try to no, it's not enough.

Um, I need you to shoot this as

well.

Jay, I think I probably need you.

Uh, so let's see, can we clear this

side and then Celeste, can you move those

people out please?

So Taylor, can you put your right arm

around her waist and as quickly as possible?

So this is way too nice.

We need to rough that girl up.

We do.

Okay.

So Taylor and Sam, you guys are looking

at each other.

You to fall and pause there.

You guys are doing fabulously.

Good.

There we go.

Relaxing this mile, Sam, relaxing this mile.

Beautiful eyes of it.

Hey, I just abbreviated his name.

I just made Taylor shorter.

How's that possible?

Okay, good.

Now, um, Samantha, can you have your hand

on the, on his chin?

Yep.

Show off the bling.

Show off the bling.

Yes.

Yes.

There, there we go.

JD.

There we go.

There we go.

Pause.

Pause.

Heck yes.

We'll do that one more time.

One more time.

Let me, thank you.

Thank you.

We're going to get them.

I want them to get to the party

as much as possible.

Oh, let's see.

Jeannie.

Okay.

We're back here.

We're at 2.2, 2000th of a second,

200 ISO.

We have people now in the back of

the frame that I might have to move.

I'm at 3200 ISO, 2.2, 200 ISO.

I'm shooting a horizontal.

I'm shooting a vertical.

I'm shooting this table in particular because this

is the one table out of 12 that

has continuous light.

There are people in the background, but I'm

shooting at such a shallow depth of field

that I can blur them out.

Hopefully it's part of the background.

So now that I have this, I'm going

to move the table number.

I'm going to shoot it by itself.

It's important for me to shoot the table

details, both with and without the table numbers.

The Chateau is a major sponsor.

So I'm going to shoot the wine.

And I really want to do a good

job for all the vendors because this will

be hopefully the photos that they use on

their website, which could eventually turn into more

business.

Is it ready out there?

Can you get a couple shots of it?

Okay.

So they're placing the food.

So I'm going to want to make sure

that I get a photo of this.

So I am shooting the food for the

Fairmont.

The Fairmont's catering.

So I need to make sure that I

get a solid shot of this.

And then I also want to get a

menu to indicate that we're starting with the

Sonoma Valley heirloom salad.

Great.

So let's move this back.

Butter back, sweater jacket back.

Okay.

I did not get a photograph of this

centerpiece, but because there's food already here, I

don't want to take this one.

So I'm going to go to a table

where they don't have food on the table

already.

This light is broken and I have backlight.

Let's go to this table.

Excuse me.

So I'm going to remove butter, salt, pepper,

sugar, bread, and then I'll have to make

sure and replace it.

One thing I did notice is there's a

long table in the background that it's in

full sun.

So I'm gonna have to shoot it in

full sun, but I need to make sure

that I'm shooting it, that I'm going to

be shooting in full sun.

And I know that I'm doing that.

And I have about 30 seconds to do

that.

I'm going to shoot it this way because

if I shoot it this way, it'll be

backlit and all this is shaded and it

doesn't look exactly right.

So I moved the wrong cups.

So the light hasn't changed.

So I'm going to shoot.

It's still the same at a 2.2.

I'm going to go down to 2000 for

a second.

It's slightly darker here.

Great.

So now I just need to replace everything

back in the order in which I found

it.

This is not going to be a pretty

photo.

It's a beautiful table.

It's just not going to be a beautiful,

but at least I don't have food on

it.

And I just dropped a bread roll.

Celeste, can you have the team move back?

JD, JD, I need you real quick.

I'm moving this child's chair because that never

looks good.

I'm going to have JD move this as

quickly as possible.

Tammy and JD, can you handle this?

This table moved to the side, please.

Okay.

I'm going to shoot this at a 2

.8. ISO 125.

No.

Doing a test shot to see what my

light is.

I'm still at 3200th of a second.

Celeste.

Even more.

So I'm just doing this test shot.

Have a vertical of it.

Tammy.

Uh, there's people in the background right now

and I just have to get over it.

It's the not crew.

Irony.

I know they're giving you a hard time.

Oh, just kidding.

Okay.

It's all good.

We'll just have to take care of that

in post if necessary.

So I got a straight on.

I'm going to shoot down at it.

I'm going to change this to a 3

.5. One second.

10 seconds.

10 seconds.

Thank you so much for your patience.

I appreciate it.

Thank you.

I needed to get an overview shot for

everybody, um, on for the, the overview shot

for the reception.

And, um, it's just not going to work

out and I just have to be okay

with it.

I asked for the coordinator and she's the

one that gave me approval not to be

concerned about it because the market umbrellas are

actually blocking, um, are blocking, um, all of

the centerpieces.

So what I'm going to do is instead

of having a lot of people walking back

and forth, I'm going to have wait till

everybody's seated.

And so hopefully once I have everybody seated

in the umbrellas, it'll make it, make it

look like more like a lively atmosphere, which

the magazine will probably hopefully want to use

in some capacity instead of half people sitting,

half of it shade, half of it in

light, as long as it can sell the

lifestyle of the idea, then that's what we'll

do.

So I'm not going to stress out about

it while guests are getting seated right now,

I'm going to go and shoot the cake

and a few elements of the cocktail hour.

So I need to, uh, stylize this.

This is their guest sign in.

And so, uh, uh, I need the lights

to be, um, I need scrim.

So what I want to do is I

want to wipe down everything.

Can I have the scrim please?

Okay.

Just right above it would be great.

Am I not shot at the bottle?

Uh, slightly, but I'm going to see how

I can shoot this.

Um, I'm at 2.26, 40th of a

second, 200 ISO.

Let's see where we put that.

Okay.

Oh, this is great.

Okay.

Um, this is annoying me.

Okay.

There, there we go.

There we go.

Okay.

Uh, yeah.

Here.

Tammy, go ahead.

Go ahead.

Pull.

There we go.

Great.

So guests are coming over.

That was a much better call.

So JD, my personal stylist, uh, we had

like kind of like a dead flower.

So he just pulled something else and it

just made the biggest difference.

Great.

So I'm shooting it vertical.

I'm going to shoot it horizontal.

I'm going to shoot up close.

Great.

Now I guess they're getting seated.

I'm going to shoot the cake.

Oh, yeah.

Put those flowers back over here where they

were.

I'm not going to use the cutting utensils.

These are, I just looked in their Vera

Wang cutting utensils.

So I'm gonna have to shoot them separately

because chances are somebody spent money on them.

And so we want to make sure that

we document that, but it's not going to

be important in relation to the cake right

now.

Back it up.

My settings are going to be the same.

This actual edifice is not branded for the

wedding.

So I'm just going to cut it out.

I'm going to crop and shoot the cake.

I'm shooting this at a 2.8, 640th

of a second, 200 ISO.

Yeah.

Yeah.

So people ask how I meter and I

simply just look behind my camera and see

if I like what I'm getting.

I'm going to shoot just the topper by

itself.

Now I'm not going to shoot the topper.

I'm going to shoot the topper in one

way just to show you why I wouldn't

shoot it this way.

It's blown up behind.

I'm going to scoot over slightly this way

to get a darker background so that the

topper pops out from, from what's going on.

JD pop in one second.

Great.

I'm gonna shoot the cake now.

Now I'm going to shoot the cake top

to bottom.

Oh, sorry.

I'm sorry.

Thank you.

I'm going to shoot this at a 2

.8. So I probably didn't act so nice

to that photographer, but she's been around this

all day.

And so just kind of feel like I

just needed to work as quickly as efficiently

as possible.

So I have a top to bottom.

I'm just doing base to top a cake.

I'm just having a little closer, cut out

the base of the cake.

So there's this tree in the background and

the cake wasn't centered to the tree.

So I, if I shoot the cake at

a perfect center, the tree is going to

be on the right side, which is kind

of not the best situation.

So if I were to shoot the cake

now centered to the tree, it might not

be the head on angle, but I want

to shoot it both ways.

I'm going to shoot a close up of

the topper.

So let's just take a little bit of

a breather.

Um, we got cocktail hour.

We got the reception to the best of

our ability.

The beauty about working with an experienced coordinator

like Jeannie, she just said, shoot what you

can do the best you can, but given

the light, given the market umbrellas and a

few minutes ago, the market, the umbrellas just

top it all over.

These are the things that she's taking into

consideration saying we're doing the best we can

given what we can.

So when somebody gives me that amount of

grace, it like relieves so much stress.

I know at the end of the day,

the knot will be producing images, maybe not

in a wide shot.

Maybe the wide shot hopefully might be maybe

of the ceremony, maybe something that is bright

light, but still is all contained.

This broken light is going to be very

difficult to get a really wide shot, but

the fact that we can get small little

details and piece it later together and post

to tell a complete story is going to

be a good thing.

So now we're going to do is we're

going to take a little bit of a

breather.

Guests are getting seated.

They're going to do a grand entrance.

Uh, JD and I will be shooting grand

entrance, but we are also known that a,

uh, a special celebrity artist is going to

surprise them during their first dance.

So because we know this, Jeannie told us

in advance, what we want to do is,

uh, JD and I will be shooting the

couple as they come in for their grand

entrance and they start the first dance.

And then the band has been instructed to

stop and they're saying, you know, we can't

do this as well as we should.

We're going to bring on somebody who came

and he has a country music artist and,

uh, we're going to actually go right now.

So we'll let that, I'll let it be

a little teaser.

There you guys go.

Here we go.

So right now it is a full sun.

It is bright light.

Um, this is not normally how we shoot,

but you know what?

We just have to roll with it.

So they're going to do a grand entrance

and I believe it will just be of

the bride and groom.

They're going to do a grand entrance of

the bride and groom.

They're going to go directly into the first

dance.

Now I have to understand them and try

to position myself in such a way that

I don't get really distinct shadows.

I don't know how that's exactly going to

unfold.

We're going to kind of roll with it.

So the idea for me is to maybe

perhaps shoot from this angle, get the band

behind them and be able to salvage some

of the blue sky if I cannot.

And if I just feel like it's just

not a good situation, I don't care shooting

them with the sun directly behind them and

blowing out the back of the sky.

As long as her skin is exposed.

Well, the dress is exposed.

Well, that's where I'm definitely going to go

for that.

Great.

I'm shooting this time at a 3.2.

Turn your attention to the house.

I'm sorry.

Turn your attention over there.

My apologies.

Let's welcome in our newlyweds, Mr. and Mrs.

Sinclair.

You know, we have a better idea.

Sam and Taylor, we have actually a special

guest who's here to sing you your first

dance song.

Let's turn our attention to everyone.

Put your hands together and welcome our special

guest.

Put your hands together and welcome our special

guest.

Mercury National Recording Artist, Cannon Smith.

He just flew in yesterday to perform this

song.

He's heading to Raleigh tomorrow on tour with

Dirk Bentley.

I want a love, I want a love,

I want a love you like that, deeper

than a sunset sky, sweeter than muscatine wine,

all night till the sun comes back.

I want a love, I want a love,

I want a love you like that, baby.

I ain't gonna do it like a pretty

city boy.

I'm a fishing in the dark, old Virginia

boy.

I want a love, I want a love,

I want a love you like that, deeper

than a sunset sky, sweeter than muscatine wine,

all night till the sun comes back.

I want a love, I want a love,

I want a love you like that.

Yeah, Taylor, he wants to love some dancers

like that.

Hey, God bless y'all and your marriage.

Congratulations.

Sam and I wanted to welcome each and

every one of you here and thank you

guys from the bottom of our hearts for

all of your love and support the last

few months, six months or so.

It's been an absolute amazing time for us,

but hard as well.

But I mean, we've had support from every,

every, every single one of you guys that

are here.

And we, we love you guys all from

the bottom of our hearts.

Thank you.

So thank you guys for being here.

Let's let's raise a glass.

I don't have a drink.

I would love a drink.

Perfect.

Honestly, everything about this day is perfect.

And having you all here is the most

amazing thing ever.

And we just we really appreciate it.

We welcome you guys.

Cheers.

Cheers.

JD, JD, do you want to pop on

that side?

Sam, hey, can you take a step back?

All right, there we go.

There we go.

Thank you guys.

Come on, come on, come on, come on.

Can you guys kiss?

Sam, hold it up towards me.

Can you hold it up?

Turn it around so I can see the

inside.

Oh, inside.

Thank you, babe.

Thank you.

Thank

you.

Diva.

It's brilliant.

That just happened really fast.

Good lord.

So we went to the first dance, we

went to the celebrity dance, we went to

a thank you cake cutting, and now we're

going back to another thank you.

Am I singing?

Is it karaoke?

We just, I mean, we cannot even put

into words how thankful we are to everyone

here, friends, family, vendors, everyone, for creating this

amazing day for us.

It truly is our dream wedding.

We have to give a huge thank you

to The Knot.

I mean, that doesn't even suffice to say

thank you.

But they've done so much and they've made

this such a memorable experience today and everything

leading up to today.

To Chateau St. Jean, I mean, it's beautiful.

How could you ask for a better wedding

venue?

And to the Fairmont, who has been incredible

in accommodating our guests and all the food

that you guys are about to enjoy.

It's just been perfect all around.

Thanks to everyone coming together on this.

We just really, really, really appreciate it.

So thank you.

So cheers again.

Okay, so now we're going to see if

people take the dance floor, then I'll definitely

shoot this.

But the food has already been serviced, so

actually people are getting up.

It's going to be a party.

I'm going to switch to the 35.

Great idea, guys.

I like it.

Okay.

When I met you in the summer, you

took my heart beat so.

We fell in love as the leaves turned

brown.

We could be together, baby, as long as

skies are blue.

That's the way they say it now, but

tonight's so soon.

Very good, very good, very good.

Bravo.

Let's keep it up, guys.

Yes, yes, yes.

Okay, so I just stepped away from the

music real quick to kind of give an

update.

So if you can see right now, there's

small tiny bits of clouds that are covering

the sky.

So you'll see that the light is shifting

so wildly on the dance floor.

So I just have to, every time I

see a shift of light, I have to

make sure and compensate.

Right now I'm shooting this at a 3

.2 ISO 100, and I'm varying anywhere from

1,600th of a second to 2,800th

of a second, depending.

So right now it's shaded, slightly shaded.

I'm at 1,600th of a second.

When the sun kind of peels back, we

hit this full force like it does in

about 3, 2, 1, bright light, here we

go.

I'm going to pop back up to around

2,500th of a second.

So according to the schedule, we have dancing

as people, as guests finish their salad.

So I'm going to shoot this as much

as possible, and by the time the second

course is plated, then that's the first time

that I'll probably take a break for the

entirety of the day.

So we're cruising about, right now we're shooting

like six, seven hours without a break, and

that's okay because they're a great couple.

I'm going to get some dancing photos, shooting

on the other side.

I'm shooting with a 35 right now, but

I think I might swap a lens with

him and start shooting with a 24.

When I shoot with a 24, he shoots

with a 35.

Here we go.

I'm going to come up here and get

an ambient shot.

The crew from The Knot is in the

photo, and there's nothing I can do about

it.

I'm going to shoot this with a 35

at a 4.0, 100 ISO.

I'm going to try it with 2,000th

of a second.

I'm just going to try to set an

ambient shot, kind of create...

I'm too dark.

I'm going to go for a 1,250th

of a second.

That's where I want to be.

I'll go to 1,000th of a second.

I want to kind of create the environment

and make sure there's people on the dance

floor.

The light is shifting ever so slightly because

there's a cloud over it, but drops it.

640th of a second at 4.0, 100

ISO.

There it is.

I'm going to shoot a horizontal.

I'm going to shoot a vertical.

This light right now is so pretty, and

the sun just came out again.

We're best friends, and it's her birthday today.

Oh, we have to get a photo of

you two.

Absolutely.

Let's do that right now.

I'll send my assistant right now with you.

Okay.

Okay, so I actually had to stand up

because I want to get more of an

aerial perspective, and I'm short.

I'm a short girl, but this is going

to give me an extra 3 to 4

feet, which is awesome, all without a ladder.

Now, in post, during and after lesson, I'll

be able to show both angles, and then

y'all, who are watching at home, can

see which you guys prefer.

The sun came out again, so I have

to pop this back to a thousandth of

a second.

Here we go.

Good.

So that's my establishing shot.

So JD is going to be shooting Jesse,

the best man.

I will be shooting reaction shots until I

tell JD otherwise.

JD?

We're going into speeches right now.

JD is going to be shooting the best

man.

I'm going to be shooting the bride and

groom and get their reactions.

I've got to speak loud?

You got me?

All right.

I know this is a little tacky, but

I'm going to read it from my phone.

I just wanted to say hi to everybody,

anybody that doesn't know, I'm Taylor's brother.

I'll try to keep this short.

So, yeah, first of all, I just want

to say thank you to The Knot for

making this all possible.

This has been quite the day, pretty amazing.

I know Taylor and Sam are more than

appreciative.

It's just been awesome overall, and everything's been

great.

So anybody that doesn't know, I'm Taylor's younger

brother by two and a half years.

This was the right age difference for us

to not be right on top of each

other in each other's business all the time,

but just close enough where we were around

each other enough, shared a lot of the

same friends.

We're there to help each other out, lend

a helping hand, and probably annoy each other

just once in a while.

I'm sure it was always me that was

annoying a little bit more than him.

Sorry, I'm not too good at this.

Anybody that was siblings knows that it can

be a little bit difficult to feel like

once in a while you're in your sibling's

shadow.

It was a little bit difficult not to

feel like that with Taylor sometimes because he

was always so awesome at everything.

GPA in high school, there was no chance

I was ever getting close to his.

Baseball stats, there was no chance I was

coming close to his either.

Always there to give me a good helping

hand with school or whatever it was.

He was always a humble guy too.

A lot of people that are as good

at as many things as Taylor is good

at can be a little cocky.

He can be cocky to certain people in

the right situation.

I see you, Tim.

Like in the Chinese restaurant near the Kimball

Manor.

He was never one to rub his successes

in anyone's face.

That also made it pretty easy to handle

the fact that I had an awesome older

brother.

All the girls in my grade would always

tell me how hot he was.

A little tough to deal with.

He was pretty awesome to everybody.

Move out to California, which was difficult for

me because I knew that that wouldn't be

the time that I could...

In the off seasons, I always enjoyed him

being pretty close by or a little bit

more accessible.

So right now, we're shooting the father-daughter

dance.

I'm shooting at 85.

I'm shooting at 3.2. 16 minutes of

a second, 100 ISO.

Music that we made Was simple, but it

stayed In my memory And on my mind

Dancing on daddy's shoes Dancing all around the

room Rolling the rug up Shaking our heels

up Dancing away the blues Sister would sing

along Everyone would sing a song Laying on

my heels Dancing on daddy's shoes Something about

this dusty room Makes me weep, makes me

so Let that old perfume It's one of

a kind And the music that I make

When I hear that record say There's no

comfy way That I can find Dancing on

daddy's shoes Memories of the day Dancing

away the blues Santa bent over me

Dancing all around the room Rolling the rug

up Shaking our heels up Dancing away the

blues Dancing on daddy's shoes Everyone would sing

a song Laying on my heels Dancing on

daddy's shoes How

about their taste in music?

All these songs were selected by the couple

today.

And lucky for us, they have wonderful taste

in music.

Good job on that.

Oh, thank you, thank you, thank you, you

guys.

Now we'd like to invite Taylor up to

show you a dance with his mother.

Also a great song.

So I try to shoot each dance from

like three different locations.

We start off in one, two, and three.

So now that I'm already here, I'm just

gonna back it up in three, two, and

one.

So we're gonna end up right where we

left off with the last dance.

Whoo!

Awesome!

You belong among the wildflowers You belong in

the boat out at sea Sail away, peel

off the hours You belong somewhere where you

feel free Run away, go find you a

lover So right now, I'm just gonna make

sure that I'm getting a focal point on

the mom.

And then as they twist, now it's on

Taylor because her back is to me, so

my focal point is on Taylor.

And then as they twist, there goes mama.

My focal point on her.

And we're gonna twist.

Now our focal point's gonna be on mama

right about now.

There we go.

You belong among the wildflowers I have a

tendency to shoot a lot of vertical, and

I'm gonna shoot now horizontal to make sure

that I have everything covered.

Focal point on Taylor.

Now hopefully she'll twist around.

You belong somewhere where you feel free So

they're talking, so I need to shoot at

least three frames so that I get a

smile.

Run away, go find you a lover There

we go.

Waiting for mom to turn around.

You deserve the deepest of cover You belong

in that home by and by You belong

among the wildflowers We're gonna go into the

bouquet and garter toss.

Now we're gonna wait for some girls to

arrive.

I will be shooting the bride.

J.D. always shoots the reaction.

I'll be shooting with the 35.

He will likely be shooting with the 24

or the 50.

We're gonna head on in.

Pretty woman Walking down the street Pretty woman

You're coming back for me Whoo!

Oh, I believe I love you You make

me feel so brand new I want you

to spend all my life with you Whoa

Since we've been together Loving you forever I'm

so bad

I've been a bad mistake Let's

hear it one more time, guys, for Sam

and Taylor, everybody.

This way, can you guys face this way?

Girl, you weren't even gonna come out here.

I can't even.

I can't even.

You guys turn this way.

Can you guys look at me?

Beautiful.

J.D., give me the card.

Tammy needs that one.

This one?

Yeah.

Tell her there's a photo booth.

So right now, this is the last dance

or the second-to-last dance, so I

wanna make sure that I do a big

swoop in this circle.

J.D. is shooting with the 24.

I'm with the 25.

I'll be standing on the stage to hopefully

get to shoot over a guest to make

sure that I'm getting a photo of Samantha

and Taylor.

It's got whatever it is It's gonna be

a way Everything I wanna say to you

But I can't find the words to say

It's got whatever it is I don't know

what to do Every time I try to

tell her How I feel it comes out

I love you It's got whatever it is

It's got whatever it is I don't know

what to do Every time I try to

tell her How I feel it comes out

It's got whatever it is I don't know

what to do Every time I try to

tell her How I feel it comes out

It's got whatever it is I don't know

what to do Every time I try to

tell her How I feel it comes out

I love you It's got whatever it is

It blows me away Everything I wanna say

to you But I can't find the words

to say It's got whatever it is I

don't know what to do Every time I

try to tell her How I feel it

comes out It's

got whatever it is I love you It's

got whatever it is I love you It's

got whatever it is I love you It's

got whatever it is I love you It's

got whatever it is Sam went out of

her way She threw a party for me

And said, oh yeah, it's also Christmas But

whatever I see that Sam The amazing person

she is And the friendships that she has

And how much you all mean to each

other He said, I want everything with Sam

I want to be in there with all

of you So, the reception It came together

I walked into the reception thinking That I

was not going to be able to deliver

And at the end of the day, we

did And we did because it was a

group and team effort And I'm very appreciative

for it But let's talk a little bit

about the things that we faced During the

grand entrance, it was bright sun The sun

was directly on their faces So I tried

to expose for them the best I could

When they went into the first dance We

had shadows I had shadows across Samantha's face

half the time I had shadows across Taylor's

face There were a few moments where they

were both able to look out I will

say that my exposure Wasn't exactly where it

should be all the time Because not only

were they moving The sun and the clouds

were changing on us as well However, when

it comes to a curatorial perspective I know

that I shot with three different lenses I

shot with the 50mm, the 85mm, and the

35mm And I know, beyond a shadow of

a doubt That I nailed one photo with

each of those lenses I have a wide,

I have a tight, and I have a

mid-range Knowing that, I'm going to walk

away from the situation saying I did what

I came to do That also goes to

show for the father-daughter dance And the

mother-son dance I photographed those with the

same lens With the 85mm to get more

of an intimate feel Between parent and child

And I photographed it from three different locations

To offer diversity Do I think that I

nailed at least one photo In each of

those three locations?

The answer is yes Now, taking that same

approach When it comes to the cake cutting

There were so many people There were literally

six to seven different film crews There were

photographers, there were coordinators There was the entire

team from The Knot So I just found

a position And I didn't move Now, I

did notice that the bride and groom came

in And they were instructed to stand a

certain way And once the producer from one

of the other shows that were here Had

positioned them I said, Sam and Taylor Can

you take a step back and open up

towards me?

By doing that, I was able to reposition

them According to my camera and nobody else's

Am I okay doing that on a wedding

day?

Absolutely Am I okay getting the photos that

we got As a result from them?

Absolutely I feel okay with it We got

verticals, we got horizontals We got both of

them feeding each other And overall, it was

a pretty cake in good light Delivered on

all ends They kissed at the end I

think that I'm pretty good with it As

far as dancing photos go They're okay It's

bright light People are having fun For everything

that I lack Technically, what I want to

do is make sure and capture Lifestyle dancing

photos Do I think we delivered on that

end?

I do And I owe a lot of

that to JD Who's actually shooting right this

very second As I'm out here talking to

the cameras So we're going to scoot back

into the reception And we're going to finish

off this day hopefully with a bang