All language subtitles for cL-1505-STARBOOTCAMP-D11-Shoot-Ceremony-Details-HD

In this lesson, we are going to talk

about how to photograph ceremony details.

And I prepare my clients for the time

that I need to ensure that these types

of photos are actually happening between myself and

my second shooter, JD.

Now in a future lesson, I'm going to

talk to you about how precisely I ask

my clients to get this time, but today

I'm going to focus on the logistics.

Like I mentioned, I have about 15 minutes

to get the photos that I need, and

I'm going to go through what that list

looks like so that we, you and I

can be on the same page and you

guys can see how much time I need

for each individual thing.

So when I approach this ceremony, the first

thing that I'm going to do is take

a photo of the wedding programs.

And I do this in one or two

ways, or maybe both ways.

I will see the program maybe on the

chair or in a basket, and so I

shoot that horizontal and vertical.

Then if there are ushers who are holding

the programs, what I want to do is

make sure that the usher is holding it

towards the camera so that I can create

a frame around their body so that I

get that static and then them passing it

off in motion.

What I want to do also is I

want to get wedding signage if there is

some.

Sometimes bride and groom will have a sign

or a few signs that are leading up

to the wedding venue, like John and Jane's

wedding 3.2 miles, or perhaps just a

homemade sign that says wedding, or an arrow

pointing to where the wedding location is.

Those are all very important.

I also want to photograph the ceremony location.

Now the ceremony location, there could be an

altar, there could be a chuppah, there could

be a mandap, whatever traditional or ceremonial elements

need to be photographed in any way, shape,

or form, but I need to make sure

that I'm doing a close-up vertical, a

close-up horizontal, then I back down the

center of the aisle and I get a

vertical and a horizontal of that.

I'm also going to be focusing on cultural

or religious details.

So for instance, if I'm shooting a Jewish

wedding, I need to make sure that I

get a chuppah, or the Torah, or maybe

the wine glass, or the prayer shawls.

This also goes for Bibles, or Torahs, or

candles, or sand ceremony elements.

These are all very important and special to

the couple.

I'm also going to be focusing on floral

decor.

Now floral decor, depending on the ceremony, changes,

but what we can say with certainty is

that there will be flowers going down the

aisle or up at the ceremony location.

So I want to kind of set the

scene by taking a horizontal shot of everything

I'm seeing in front of me, then I

get a vertical shot of seeing everything in

front of me with the florals as the

main focus.

I will step down to the center of

the aisle and I will shoot the same

thing, a horizontal and a vertical.

Now when it comes, if there's a lot

of extensive flowers going down the aisle, I

will step off to the side, I will

crouch down, and I will shoot the flowers

in a way that has the focus on

the flowers and perhaps the ceremony location blurred

out in the background.

Then I will flip my focal point and

I will get in focus the ceremony details

and get the florals blurred out in the

foreground.

Now what I need to do is get

a full overview shot of the ceremony location.

I know based on my experience after submitting

weddings and getting them published and featured, is

the thing that the editor asks for the

most is a clean, uninterrupted, undisrupted shot of

the ceremony location.

Now this happens by me educating my clients

about how much time I need that to

happen.

So let's just get a hypothetical start time

to a ceremony.

If a ceremony starts at 5pm, what I

know I need to do is I need

to get the bride tucked away from early

arriving guests by 4.30. What then that

empowers me to do is to scurry down

to the ceremony site and start shooting it

because early arriving guests usually get there about

25 minutes prior to the ceremony start.

If I have a 5 minute jump start,

then what I can do is ensure that

the photograph that I get has not been

touched by any guests yet.

When I'm shooting the overview, what I'm going

to do is I'm going to take a

step back and I'm going to shoot it

horizontal and I'm going to shoot it vertically.

Now one thing I want to point out

as we get into this video is that

you will see me standing on a ladder.

Now the ladder was there because I was

working as part with the marketing team from

the Lodgetory Pines.

Now the Lodgetory Pines is located in San

Diego, California.

And they had commissioned me to shoot all

of their new marketing materials for the year.

And I was ecstatic to work with an

amazing creative team.

Now the florist happened to have left her

ladder at the end of the aisle and

so I asked hey can I step on

it and use it in this particular location.

And she agreed which is fantastic.

Now occasionally on wedding days this also happens.

Whenever I see a ladder, because I am,

you know, I'm just short, I will always

find a way to shoot it from a

higher angle which is always beneficial and for

diversity of your portfolio.

Then what I need to do is I

need to get a half view of this

ceremony.

At this point in time I will not

use the ladder because when I am shooting

a half view of the ceremony I'm walking

down to the center of the aisle, shooting

it really, really wide.

But this is actually better from a curatorial

standpoint if there aren't any floral decor at

the end of the aisle.

If there's no floral decor at the end

of the aisle it could actually make the

ceremony site look a little bit weaker in

that it's empty and then you have all

of the stuff in the beginning.

So if that isn't the case, the half

shot has me coming down the aisle, then

the focus on the mandap, the altar, the

hutba, and we kind of curate a fuller

sense to the photo.

Now once I have all of those shots

taken, my focus along with J.D.'s is

to shoot guests.

Sorry, to photograph guests.

We're not shooting guests.

What I want to do is making sure

that there is client diversity to the portfolio.

I want my clients to see their friends

and their family and when guests arrive early

to the wedding they're looking great, their makeup

is fresh, they haven't started drinking, and it's

a really great opportunity to introduce ourselves to

the guests as photographers without having to say,

I'm a photographer.

Simply by me holding a camera and adjusting

and offering to give them a great photo,

they're happy, they go on their merry way,

and then the clients get photos of their

favorite friends and family.

Now what I want to talk about right

now is how to incorporate the bride and

groom into the ceremony location.

Now if a bride and groom opt to

see each other for a first look, I

happen to find this very advantageous because what

I can do is I can incorporate the

bride and groom into the ceremony location without

the guests being there and the best part

of this is that the flowers are fresh,

the chairs are completely aligned, everything is crisp

and clean.

Now this happens about 45 minutes before the

ceremony starts.

It can't happen too much earlier than that

because not all of the ceremony details might

be set up.

So about 45 minutes before the ceremony, that's

when everybody's kind of moving away, clearing up

the space and that is the perfect time

to get the bride and groom there, I

shoot the bride and groom for about 15

minutes.

So if we went back and we started

looking and thinking about what it could possibly

appear if we used the hypothetical 5 o

'clock start time, I would have to get

the clients tucked away or the bride tucked

away by 4.30 which means that I

would start shooting the couple at the ceremony

site at 4.15. Now in today's lesson,

I'm excited and I'm really happy because when

I was commissioned by the Lodge at Torrey

Pines, it was about the time that we

were planning to come and do this 30

day event with CreativeLive.

So in light of preparing us to shoot

the Not Dream wedding, I thought it would

be a great opportunity to invite CreativeLive to

join us on this shoot so that I

can have the time and reveal the cadence

in which I shoot and show you how

I shoot as a form of preparation so

that when we get into the Not Dream

wedding you will see, okay, Jasmine shoots with

a pattern and okay, even though she's not

talking to us as much as she might

have in the past, we know what she's

doing because she has set us up for

success.

One thing I want to note, because this

was a marketing campaign, this isn't a real

couple and it is not a real wedding

day.

Having said that, I will say that the

team had told me we want particularly sunset

shots of the reception details which kind of

showed how much time I would actually shoot

this on a regular wedding day.

Of that gorgeous, beautiful, amazing golden light, I

had about 15 minutes.

What you're going to see is that the

timing and the approach is about the same.

One thing I also want to say is

that if the creative team is around, they

might have been around on the shoot and

they might be around on the wedding day,

I ask them for help as I need

it.

You might hear me say, can you hold

this over here?

Can you move in this direction?

Can someone please hold the bouquet?

I am unafraid to kind of gather a

team and a tribe around me to ensure

that we're all on the same page and

we all walk away as successful.

In a previous lesson, I talked in detail

about a conversation that I had with Rebecca

Crumley and focusing on your branding words.

My branding words happen to be, one of

them is editorial.

So as I talked to Rebecca, one of

the things that she said was to tell

a consistent story.

Part of telling a consistent story is connecting

the dots from the beginning, middle, and end.

What you see me doing here is, yes,

I am shooting the ceremony and yes, I

am shooting the reception and I'm shooting these

two independent of each other.

But the way that I'm connecting the dots

is by incorporating the bride and groom into

holding a cake, holding a bouquet, hanging out

in the lounge furniture, having them walk towards

me and making sure that I'm shooting the

couple at different times of the day because

I need the sunlight to reflect the cadence

of the story.

So keep that in the back of your

mind as we get into the video and

I'm going to show you how much I

do this with as many times as possible

throughout this shoot.

Once I get an overview shot, I want

to make sure that every shot is horizontal

and vertical and I'm going to shoot it

at the end of the aisle so I

can get everything and then I'm going to

shoot it at the middle of the aisle

so I can focus on half of the

ceremony location including the altar, huppa, or whatever

is up in the front.

Then what I want to do is I

want to focus on the small details.

If there are programs, I want to make

sure those are photographed.

If there are kids passing out the programs

or friends or if there's a guest book

signing in or if somebody's taking gifts, I

want to make sure that I'm getting all

of those photos in advance.

You can see that today is a rather

windy day but I'm just going to try

to work with it the best I can.

The thing that I want to end the

shoot with is smaller details like chairs.

If there are cool chairs, if there are

aisle decor, I want to make sure that

I'm getting individual shots of that as well

as an overview shot.

So it's kind of very straightforward and we'll

walk you through what it's going to look

like but the things that I'm looking for

first and foremost is to get an overview

shot.

I'm going to be shooting these details, the

wide shots with the 24mm or the 35mm

and all the detail photos will primarily be

coming from the 50mm.

I'll be talking through my settings because it

is very bright but I'm going to talk

about the things that I'm looking for as

we move along with the shoot.

So right now my settings, one thing that

I'm noticing is that this white chair is

reflecting light onto the back of these chairs

which is fantastic.

This is like an ideal photographer situation but

anything that would reflect light is going to

be the best type of scenario to shoot

this.

My settings for this are 2.5. ISO

160 and 2500 shutter speed.

The focal point is going to be on

the monogram behind the chair.

I'm going to be shooting the photograph in

two ways.

I'm going to be shooting it obviously vertical

and horizontal but two different ways in each

of them.

I'm going to be shooting with the chair

in the middle of the frame and then

I'm going to be shooting the chair in

the lower portion of the frame getting more

of the sky and then I'm going to

be shooting it horizontally.

The focal point will be on the chair

closest to me so that the rest of

the chairs blur out but create a leading

line towards it.

So one thing that I'm focusing on right

now would be creating that horizon line behind

the chairs.

So I'm going to be using the things

that are in the background to actually help

level the photo within the frame because there's

nothing worse than getting back frames realizing that

you were shooting off kilter.

Now the decor, the aisle decor is rather

simple but I'm going to step in, I'm

going to shoot a tiny bit of it.

My settings right now are 2.5, 3200

shutter speed, 160 ISO and you'll notice that

the pattern for me is to keep my

ISO about the same.

Once I'm shooting in a given area I

don't need to change my ISO too much

because the setting will kind of be the

same and it's one less thing to think

about.

So a lot of times on a wedding

I might not have the luxury of bringing

the bride and groom into this area but

I'm going to do that today because I

can and at a few of my weddings,

I would say about a third of my

weddings I'm able to bring the bride and

groom to the ceremony location before guests arrive

and that always makes for really cool photographs.

So what I want you to do is

first and foremost feel comfortable and then feel

at liberty to do what you want to

do and then I will tell you what's

working and what's not working.

Right now it's just the beginning of the

shoot so I just want you to kind

of chill, relax.

Once we have the bouquet it's actually going

to feel better because you'll have something to

do, yes, something to hold, something to do

with your arms.

Now I actually prefer when a bride will

give me a variation of looks.

So of course we're going to have the

traditional bridal smile, right, so we have the

girl next door look and then you also

have kind of just like a more of

a demure kind of look.

You can kind of have a little bit

of fun.

I might, towards the end, and Chriselle might

hate me, have you pick up just the

side, if you're dressed a little and kind

of get you swishing, have a good time.

The thing is with these photos is that

we want people to look at them and

yes to see you but they want to

see an idea of themselves in you too.

If you're having fun on their wedding day,

they want to have fun on their wedding

day.

So that's the kind of thing to keep

in your back of mind but I'm a

talker, I will be talking to you the

whole time.

If you feel stuck, just be like, hey

Jasmine, what do I do here?

But I'm pretty sure you're going to fall

right into it.

One thing that I'm taking into consideration is

I'm shooting the bride within this ceremony location

which is fantastic and it's exciting except for

the fact that she's tall and the altar

in the background has a hanging chandelier.

I don't want to shoot the bride in

front of the hanging chandelier because it's going

to look like a chandelier is coming out

of her head.

So what I need to do is step

off to the side so that I can

get the bride, the altar and the chandelier.

These are a few things that I'm thinking

about.

If I want the chandelier in the frame,

I'm going to have the bride sit down

and that'll give me a different effect but

still be able to get everything at the

same time.

So we're just waiting for a few people

to kind of move.

This happens on a wedding day.

If this was actually a wedding day, I

would send my lovely second shooter, JD, to

go and ask them to kindly move over

just like five or ten feet but the

good news is they just moved and I'm

going to shoot Adrienne right now.

So first things first, can you just soften

your knees for me?

Just kind of shake them out.

There you go.

Beautiful.

Beautiful.

I'm going to have you do that quite

often because it loosens your hips.

When you loosen your hips, you'll fall, you'll

put your weight into one hip or the

other.

Whatever you prefer is fine with me.

Right hip, left hip, already your body's taking

on a gorgeous form.

So when it comes to your bouquet, I

want you to actually just relax the elbows

and keep it, you can have it off

to the side, that's gorgeous, or you can

have the head up, that's gorgeous.

Now when you do that, I like for

your hands to be closer to the, yes,

to the top where the bouquet and the

stems meet.

That's fantastic.

I'm just going to move, we might have

to pin the bangs back or maybe just

like one bang back because I don't want

it to compete with your face.

Okay.

Okay.

Cool.

So one thing that I'm thinking and taking

into consideration is like we have these white

chairs and white sofas in front of them

that's bouncing beautiful light back onto her as

if I'm paying somebody to hold a beautiful

reflector.

Again, I'm not standing directly in front of

Adrienne, I'm going to be scooting up just

a tiny bit.

Oh, this is beautiful.

Good.

I'm going to be shooting this at a

2.0 because I really want the tree

behind her to kind of be blurred out

as much as possible.

I'm at a 2.0, 3200, that's gorgeous.

The bride right now with her heels on

is measuring, I'm guessing somewhere in the ballpark

of six feet.

She's really tall.

And in case you haven't noticed, I'm wearing

heels today and wearing heels, I'm about 5

'5".

So there's going to be a major differential

between us.

So the thing that I want to make

sure of is that I'm not standing too

close to the bride, which would cause my

camera to tilt upward.

Tilting upward towards the bride is not a

good angle for any bride.

So what I want to do is I

want to put some distance between the two

of us and the farther I get from

her, the more level that plane looks and

it looks a lot more complimentary for a

taller bride.

Now if I wanted to, I could probably

pull out a chair and stand on a

chair, but at this point in time, I

don't really feel like it's necessary.

I feel confident in the distance that I

have between us.

Now once Adrienne sits on one of these

sofas, I'm going to get in nice and

close and I think it's going to be

a great thing.

You're going to be a little bit smaller

in the frame, so just relax.

You're going to be kind of just rotating

your face from side to side and I'll

be talking to you throughout the rest, kind

of coaching you through.

But right now, this is fantastic, gorgeous, beautiful,

beautiful.

Right now I'm shooting at F2.0, 3500

shutter speed, I'm shooting at 160 ISO.

Oh, it's beautiful, beautiful.

Keep your body in that angle facing this

way.

Now bring your, that, gorgeous, beautiful.

Now relax your shoulders a tiny bit, take

a deep breath, bring the bouquet down a

tiny bit.

Atta girl, that's it.

Thank you, beautiful.

I want to make sure that I'm saving

the highlights, worst case scenario, beautiful, gorgeous, gorgeous.

That's it.

Lift the chin up a tiny bit.

Nice.

Good.

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

to reassemble this area so that I have

space to shoot the bride.

But what I don't want to do is

this chair is acting as a natural reflector,

bouncing light back onto the bride's face.

Can you lay your bouquet off to the

side?

Bring it in closer to your hips, there

you go, beautiful.

Now, just kind of have your hand on

the, yes, beautiful.

Now lay the other hand across your lap,

but palm up.

Yes, beautiful.

I'm going to have you switch the palm

in a second, but this is where I

want you to, this is where I want

you to end.

So right now, give me your right hand,

just let it hang.

And then your, hang on your right side.

Bring it all the way, yes.

So that's where you're going to start.

So this is point, this is starting point,

this is ending point.

I'm going to have you do that again

and again, and then whenever you want, you're

going to switch it up on me.

You're going to put your palm forward.

All I'm basically trying to do is find

the right angle for your body, and as

you do it naturally is when I'll tell

you what's going to work.

So hang on just for one tiny second.

Let me get the, yeah, okay, we're good,

we're really good.

So I'm ready for you in three, two,

one, bringing the palm, beautiful, beautiful, good.

Now sell it to me a little bit

more when you bring it on this side.

Just relax it all the way down.

Relax, relax, relax it.

Now bring it back into the frame, gorgeous.

And then good.

Now what I want you to do is

as you come over, not this way, I

actually just want you to like rest it

for one, two, then bring it back a

little bit more time, gorgeous, beautiful.

Awesome.

Now what I want you to, yes, at

a girl, eyes here, beautiful.

Chin towards me, relaxing your hand downward, beautiful.

Bring the bouquet in your left hand across

your lap, but put your hand, your other

hand, I don't want the bouquet, I don't

want the bouquet over this hand.

I want the hand, yes, beautiful.

Can you look, okay, this is JD, my

second shooter.

Can you look over at JD?

Awesome.

Fantastic.

Beautiful.

Bring your eyes back here, nice.

Looking out towards the cake station or what

used to be the cake station with your

chin.

That's it.

Right about there.

Eyes back out where the cake was, beautiful.

Yes.

I'm going to switch this because I can.

Now because I am short and she is

so tall, I'm going to shoot this at

a 1.2. I'm going to shoot down

on her.

These are one of those rare occasions that

I'm going to jump at that opportunity.

I'm going to bring, now, usually when a

bride sits, her dress comes up over her

abdomen, which is not the best look.

So what I want to do is simply

use the bouquet to cover her abdomen, which

would kind of be really blurred out and

be shooting down at her at a 1

.2. I want you looking down at your

bouquet and you're going to have your right

hand across your lap, beautiful.

My focal point will be on her eyelashes

or mascara.

It's just to get a nice photograph for

the makeup artist and specifically for the mom

of the bride.

For some reason, moms love these photos.

So I want to make sure that I'm

going to make the vendors happy.

I'm going to make mom happy.

Get a just solid kind of nice bridal

portrait.

Looking here.

Eyes, chin up.

Chin up.

Chin up.

Yeah.

That a girl.

Yes.

J.D.'s getting jealous.

So you can kind of toss a look.

That's good.

Good.

Good.

So sometimes I say stupid things like J

.D.'s getting jealous just to get a laugh

out of her because it's hard to say,

hey, laugh on command.

So that's a little bit more difficult.

So what I'm going to do is simply

just toss her to the second shooter.

Try to crack a ridiculous joke on occasion.

I'm going to shoot her at the angle

that J.D. had suggested me to.

And then we're going to bring the groom

into the frame.

So right now I have the couple in

the center of the aisle.

And when I'm shooting under really crunch times

as I am right now and as I

am on a wedding day, I'm going to

try to get four poses in under 10

minutes.

That's kind of like a lofty thing.

But if two photographers are shooting like myself

and J.D. at this moment, that's going

to be the most ideal thing.

So I'm going to have them first profiles,

kind of get a whole overview shot.

Then I'm going to have them snuggling nice

and close for like a little romantic shot.

Then I'm going to have them walk towards

me.

But I'm going to sink their feet towards

me, keep it nice and light and happy

and airy.

Then I'm going to have them sit.

And I'm going to hopefully do that under

10 minutes.

So we'll see how it goes.

So Adrienne, can I have you hold the

bouquet?

You're going to have your...

Yes.

Perfect.

That was great.

Beautiful.

And so right here is great.

And if your arms get tired, you can

just rest them up on his shoulder if

you would like.

The only thing I want to avoid is

getting this bouquet too close to his face

because then it becomes in competition.

One of the benefits of having a really

tall bride and groom is that I could

shoot wide open and because their faces are

going to be touching, they can be in

focus.

But because I'm not having an eyeball directly

at me, it's less imperative to shoot at

a safe aperture, like a 3.5. Right

now I'm going to push it and shoot

it at a 2.5 because I can.

And their profiles are pretty much aligned.

So as long as I lock my focus

on the bride, Adrienne, the entire photo will

be in focus.

So bring your torsos together.

Nice.

Now just relax the shoulder.

Ah, there we go.

Boom.

You guys look at each other.

So Christelle, I love that feedback.

Can you guys bring your foreheads in just

like that?

I know you guys are going to love

the forehead thing.

Trust me on this one.

Good.

I'm going to step in.

Get a slightly different angle.

Beautiful.

Now, Adrienne, can you look out towards the

lodge?

Relax that right shoulder.

Beautiful.

Look out towards the lodge.

I'm sorry.

The hotel.

I'm calling it a lodge because I'm fancy.

Okay.

Relax that shoulder a little bit.

Beautiful.

That's where I want you to end up.

Andrew, can you rest your forehead on her

temple or wherever it lands when I'm ready

for you?

So in 3, 2, 1, she's going to

look over.

You're going to kind of just bring her

in nice and close as if somebody had

just called her and you're cuddling her because

you don't want her paying attention to them.

So Adrienne, relax.

And this is where I want you to

end.

So you're going to start just in a

relaxed state in 3, 2, 1.

Peel her on in.

Look out towards the hotel.

Andrew, lean in.

Lean in.

Lean in.

Atta girl.

Relax the shoulder.

Relax the shoulder.

Relax.

Atta girl.

Beautiful.

Andrew, can you take one step back?

Beautiful.

Bring your torsos in nice and close.

So what I want to do right now

is I want to bring them in close

together because the sun is so strong behind

them.

I'm getting a lot of hot spots.

But if I have the groom bring that

bride in, what I can have her do

is the bouquet can actually be a natural

reflector popping light back into her face.

I'm going to shoot this at a 1

.2. I'm just going to get a nice

profile shot of the bride, a nice profile

shot of the groom.

So I'm going to have you bring your

bouquet.

Relax it here.

Nice.

You guys are going to come in nice

and close.

Beautiful.

You're going to relax this bouquet.

Nice.

You're going to bring your eyes down here.

Gorgeous.

Gorgeous.

I'm shooting at 1.2, 25 hundredths of

a second, 160 ISO.

You're going to relax that shoulder.

Beautiful.

Eyes here at me.

Beautiful.

Andrew, still look at the hotel.

I'm going to flip and get you in

one second.

Eyes at the bouquet.

Take a deep breath.

Relax the shoulders.

Beautiful.

Cuddle in nice and close.

Nice and close.

Nice and close.

Beautiful.

Gorgeous.

Andrew, can you get a slight smile?

There you go.

Nice.

So I'm shooting at 1.2, 3200 shutter

speed, 160 ISO.

I want you to look down at her

bouquet.

Nice.

Can you guys shift towards me a tiny

bit?

There you go.

Perfect.

And so there's golf carts in the background,

so I want to be very careful as

to how I'm going to shoot this.

Okay.

Good.

Can you bring your nose to the side

of her forehead?

I know.

Very specific.

Nice.

Awesome.

And then let's see.

Andrew, eyes here.

Nice.

Yeah, you can lean your head.

That was fantastic.

That looks great.

Beautiful.

Okay.

Now what I want you to do is

to shift your shoulders out in this direction.

So you're going to let her go.

Forgive me.

Let her go.

Turn your shoulders out completely.

Fantastic.

Take one step towards me.

Fantastic.

Now, Adrian, you're going to come in with

your chest towards his back.

Yeah.

And then you're going to give me your

bouquet.

Thanks.

Thank you.

So are you going to get an angle?

Okay, cool.

Thank you.

Beautiful.

So, Andrew, can you take one step back?

That's great.

Can you undo your jacket?

Let me see how that looks.

Maybe it'll give you...

So the thing is, I want you to

be comfortable.

So whatever it takes for you to do

that, if there's some...

Yeah, that looks great.

I'm good either way.

Okay, cool.

Awesome.

Now, as you have your coat, see how

it bunched?

Can you tuck your...

There we go.

So you want to pull the jacket back.

There you go.

Fantastic.

Great.

You're going to rest your hand right there.

Beautiful.

You're going to bring your hand down a

tiny bit more.

And then you have the bang.

Can I have that?

Yeah, that bang is going to be handy.

Good.

So the focus, you're going to be looking

at J.D., Adrienne, and then, Andrew, you're

going to be looking at me.

So give me that left shoulder a little

bit more.

There you go.

Nice.

That's good.

Take whatever you need to do, Adrienne, to

get...

To feel comfortable.

There we go.

Good.

Andrew, can you look down at the floor?

Take a nice, deep breath.

Good.

And then bring the eyes towards me.

Good.

So one thing that I want you to

do, too...

Yeah, you look fantastic.

So we have bridal...

I mean, this is like a wedding shoot,

but don't ever hesitate to not give me

those looks, like those strong, masculine, like editorial

looks that I think exist within you.

So we can veer to traditional bridal, and

then we can also get a little bit

more editorial.

So in this particular shot, I feel like

we have the safe shot.

Now I kind of want just something a

little bit more saucy.

Edgy.

That's it.

Edgy without being pissed.

So that's like a fine line, right?

That's fine.

I know, I know.

We're going to shoot right through it.

We're going to shoot right through it.

So you're going to look down at the

floor.

Yes.

And so, Adrienne, can I have you step

on your tippy-toes?

You got it, girl.

Lean that body in nice and close.

Relax.

Bring your hand down to the side of

the shoulder instead of back.

Yes.

Bring it up.

There we go.

Beautiful.

Bring these two fingers to touch.

There you go.

It's like princess fingers.

Cool.

And then when I ask for him, that's

when you're going to just pull him in

a little bit close, but you're going to

be looking at J.D. I know.

This is a lot of bright light.

This is a lot of bright light.

In 3, 2, 1.

Got it.

Boy.

Boom.

That felt great.

Hang on.

Hang on.

J.D., can I get the 35?

Eyes down, Andrew.

Nice.

Take a deep breath.

Relax that shoulders.

Nice.

And then bring it to me here in

3, 2, 1.

Nice.

That's great.

Eyes here again.

Chin towards me.

There we go.

Heck, yeah.

Okay, great.

So, we're going to start with your feet

together.

Nice.

And the cadence, I'm going to get the

settings first.

I'm shooting at 160 ISO.

I'm shooting at 2.5 at 1600 shutter

speed.

You're going to start.

I'm going to count you down in 3,

2, 1.

Left foot.

3, 2, 1.

3.

And you're going to be looking at each

other.

You guys are just enjoying yourself.

You guys are just walking on the aisle.

So, however that comes.

So, in 3, 2, 1.

Left, right.

Looking at each other.

That's good.

Oh, that's good, Andrew.

I like the ha-ha-ha.

That was fantastic.

Beautiful.

So, I'm choosing this particular location because in

this great scenario, the coordinator asked if the

bride or the groom could actually hold the

cake, which I think is a fantastic idea.

Anytime I can incorporate wedding details with the

bride and groom, I'm all for.

Now, she actually brought me the cake while

the bride was standing in the center aisle,

but it's so bright.

It's kind of like a disaster.

So, what I asked you is to move

into a different location.

Now, in this particular location, we have a

beautiful white chiffon that's acting as a diffuser

within our location, which is fantastic.

I always arrive early to find what would

be the natural diffusers, and anytime I can

put my subject in front of it is

exactly what I'll do.

In that particular situation, I was shooting at

a 160 ISO, f2.0, and 3200 shutter

speed.

I can't wait for you guys to see

the photos and what transpired from this section

of the shoot.

So, if I can have you look in

either that direction or that direction.

So, I'm just getting a tiny bit of

your eyes.

Yeah, so then when you're not looking directly

in this direction, it'll not be so hard

on the squint of the eye.

Now, can you flip your eyes in the

opposite direction?

Fantastic.

Can you look down at the cake?

Great.

Now, what I'm going to do is I'm

going to pop both of you guys in

for this frame.

So, now what I want you guys to

do, and do you guys know each other

from your agency?

No.

Okay, good.

Well, I'm going to have you guys get

in a little bit close.

Beautiful.

Now, looking at each other, you guys can

peel away.

Yeah, nice.

Great.

Perfect.

And so, now what I'm going to do

is I'm going to take the cake, and

you are going to step out, and we're

going to get just a shot of the

bride.

I got it.

Thank you so much.

You're going to scoot over this way.

Beautiful.

So, we're going to drop it down.

We're going to drop it down.

You're going to look off to the side.

Yes.

Try to relax your shoulders a tiny bit.

I know it's a workout.

You're going to eat a great dinner.

Can you move out of that?

Beautiful.

That's fantastic.

All right.

Bravo.

Thank you, love.

Great.

The groom looks straight here at me.

Nice.

Can you look out towards the reception?

Nice.

Great.

And then I'm going to move a couple

of things.

I'm going to put this back when the

bride is here, but right now I just

kind of want it more of a masculine

appeal.

Oh, nice.

Great.

Looking out towards the golf course?

Fantastic.

That's great.

That's absolutely fantastic.

So, Jay, any chance you could drop the

diffuser?

Yep.

Good.

Adrienne, can you look out towards the hotel?

Just face towards the hotel a little bit

more.

Beautiful.

And then, Andrew, can you look out towards

the course?

Yeah.

Boom.

Good.

Adrienne, can I pop you in here?

Beautiful.

Leaning into him, Adrienne.

Beautiful.

Just like that.

And then you guys are looking at each

other.

Beautiful.

Gorgeous.

We could have her bouquet over it.

Pat it down.

Actually, let me see the belt.

Oh, never mind.

It doesn't matter.

We'll put it right over.

Nice.

Beautiful.

Looking at each other.

Good.

You are going to be giving me a

mix of different things at different times, but

you just start working it, and then I

will.

Beautiful.

Good.

This is so cute.

Can I get your right hand on your

right knee?

Yes.

Good.

Now out here.

Nice.

Come out and then look out towards the

golf course.

Hey.

Good.

Beautiful.

Wave.

I know it feels stupid.

Yes.

But wave at somebody as if they're calling

you from the course.

Good.

With your fingers closed.

That was beautiful.

Okay.

So instead of this, I want to, hey,

like I feel stupid.

Wait, wait, wait.

Not yet.

That was super cute.

I wasn't ready for you.

Three, two, one.

Leaning out and wave.

Cute.

Beautiful.

Can you rest your hand, your elbow on?

Yes, that.

Beautiful.

Beautiful.

Throw your head back and give me a

nice big laugh.

That's so funny because you just look so

cute just chilling here on your wedding day.

Gorgeous.

Rest the hand down.

Just rest the hand down.

Elbow up, hand down.

Elbow up.

Yes.

Beautiful.

Elbow up on the knee.

Elbow up on the knee.

Hand down across.

Add it.

Thank you.

Gorgeous.

Beautiful.

Hang out there for one sec.

Eyes here.

Good.

Give me a nice big ha ha ha.

I know.

Good.

Eyes out towards the golf course again.

Beautiful.

Beautiful.

Awesome.

So where we're going to start right now

is we're going to shoot the bouquet and

the boutonniere.

I've specifically focused on shooting it later in

the day because nice, I get this nice

golden light at this time of day.

However, it's such a beautiful day.

It's such a short time that I'm really

going to capitalize on the golden light.

I'm going to be shooting this at ISO

160.

I'm going to shoot this at an F2

.0 and I'm going to be focusing on

just the bouquet vertical, just the bouquet horizontal.

I'm going to be shooting it from the

torso all the way down and then I'm

going to shoot a full body and that's

going to be exactly what we're headed toward.

Can you relax the bouquet a tiny bit?

Actually, I always want it here.

I want it squared to you, but I

want to see a little bit.

Yes, that.

Gorgeous.

Looking off towards the hotel.

Gorgeous.

Looking off towards this way.

Actually, can I see?

One thing to note is I want to

make sure that the bouquet, the backside is

always where the buttons are.

Okay.

That's it, girl.

We'll drop it in.

Now, I'm going to start the same thing

all over again to ensure that the front

side is exactly what the florist wants.

That's great.

Beautiful.

It's going to feel repetitive, but because I

had ...

I just want you looking to the side.

It's beautiful.

Looking off to the side this way.

Nice.

I'm going to peel back.

Atta girl.

Just take a nice, deep breath.

Relax the shoulders.

Swish the weight from hip to hip.

Atta girl.

Looking over.

Yep.

Nice.

Beautiful.

Drop the bouquet in your left hand.

Beautiful.

Now, touch the side of your dress with

your right.

Can you pick up a side of the

dress?

Just a little bit.

Yep.

Nice.

Atta girl.

Beautiful.

Good.

Give me a side profile, and then lean

back.

Because you're clamped.

Atta girl.

That.

Beautiful.

Give me a little bit more hips this

way.

A little bit more hips this way.

Hang out.

Hang out.

Beautiful.

Good.

Give me a little bit of kink in

the elbow.

Good.

Okay.

Now I'm going to get Andrew's boot in

the air.

Can I have your hand in your pocket?

Shift your shoulders a little bit more towards

me.

Towards me.

Atta girl.

Yep.

And then square them towards me now.

And button your coat.

Looking down.

Yep.

That's amazing.

Thank you.

So what you saw was the beginning, the

middle, and the end.

Yes, there were moments of sheer, I have

my business face on.

I'm going to get this stuff done.

I don't care if there's other cameras around

me.

And you also heard me talk to JD

a very specific way.

Now, just to clarify, the way I speak

to my husband on a shoot or on

a wedding day isn't as warm and fuzzy

as I speak to him at home.

There's a bunch of cuddling and boo and

all that good stuff.

But know that there is a business Jasmine

and there is a wife Jasmine.

And when it is business, it is all

business.

So on that note, and I'm not saying

it's right.

I should actually speak to him with love

and kindness all the time.

But on that note, we're going to get

into homework.

And on a personal homework note, I'm going

to say speak nicer to your second shooter.

But for you, what you can add is

to make a list of photos that you

will need to capture as you shoot the

ceremony details.

You could walk in and be extraordinarily overwhelmed.

But if you have a list, it'll keep

you tethered to it.

One thing I want to note is that

I have created a shot list based on

years of me working as a wedding photographer.

So if you'd like to check it out,

download it, and view it, you can find

it at jasminestarstore.com.

Now, regardless if you choose to use your

own list or if you choose to use

my own or collaborate with your friends, which

I think would be fantastic, is I want

you to stay accountable to your list.

Your list will help you create confidence and

give you assurance that you're going to deliver

exactly what you say to your clients.