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Awesome.
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So the section we're getting into right now
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is addressing the best lenses to shoot a
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wedding.
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Now, a side note.
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They're best for me, right?
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Like, I don't want anybody to walk away
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thinking, like, either, oh, I need that lens,
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because you don't if it's not applicable to
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your shooting style.
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Or you might walk away being like, she's
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totally missing this lens.
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That's true, but I have found what's worked
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for me by a series of trial and
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error.
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But before we get into what I think
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are the best weddings to shoot a wedding,
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I want to first show what is in
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my bag.
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So I'm going to start off by just
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kind of outlining how it works for myself
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and JD.
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We carry our gear in a think tank
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airport bag.
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That is how it's listed on the website,
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because this is sizable enough to be checked
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in above, and that's very important.
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We do not ever check any of our
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bags.
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We do not check our clothing bags or
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our gear bags when we're traveling for a
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wedding, because if we lost either one of
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those two things, we're completely off our game,
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and it will affect how we work.
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So on a wedding day, if we're just
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working locally, this is the bag that carries
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the majority of our gear.
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And then we have satellite bags.
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So this is the Brixton bag by Ona,
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O-N-A.
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And I absolutely love how these work for
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us.
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Now, they are on the pricier end, but
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they're on the pricier end because they are
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made of genuine leather, and they last forever.
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Now, it looks like a side bag, which
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is what I find appealing, because we do
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a lot of personal travel and a lot
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of business travel.
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I stay away from camera bags that look
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like camera bags, because they're kind of like
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blurring advertisements to steal thousands of dollars worth
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of gear.
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Now, JD uses the Brixton bag, and I
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use the Brooklyn bag.
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I love both those bags.
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I will take this bag on an engagement
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session, because I just love the look and
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feel of it.
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But on a wedding day, I have found
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that it's a little too big for me.
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The Brooklyn bag is smaller.
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But I'll walk through what the gear that
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I use.
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I shoot with a Canon 5D Mark III.
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Excuse me.
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This camera has changed the way that I
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approach weddings.
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I first started shooting with a Canon 20D,
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which is what is referred to as a
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prosumer lens, a prosumer camera.
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So it's a slightly professional camera for a
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consumer.
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I then, after that, upgraded to the 5D,
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and it changed my life, because I went
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from a crop sensor to a full sensor
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on the 5D.
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And it was fantastic, and the color files
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were different.
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I stayed with the 5D through the transitions.
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I got the 5D Mark II, even though
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the color files kind of were a little
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bit tweaked.
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But it had video capability and higher ISO
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capabilities, which I really loved.
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The 5D was like the perfect unicorn child,
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because the focusing system increased.
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It went to a 64-point focusing system,
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which was fantastic.
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In my early days with CreativeLive, people would
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always ask, why are you dipping your camera?
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Why are you dipping your camera?
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And I didn't understand what I was doing
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until I had seen a few-second clip.
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And I realized that I was finding the
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focal point closest to my subject, and then
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shifting and recomposing.
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And I was shifting and recomposing in between
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every single frame.
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And so with this, to find one of
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64 points really makes it so much easier.
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And I find that my photos are a
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lot more in focus as a result.
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So I shoot.
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This is how I keep all my cards.
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And I keep it in my bag.
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Now, how we indicate that a card is
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fresh, we have it facing up, fresh meaning
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that it has been reformatted and has been
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backed up on another source.
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When we are done shooting with it, or
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it is to indicate that it should not
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be touched for the rest of the day,
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it is flipped upside down and placed face
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out, so that we know if I'm working
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with an assistant or if JD picks up,
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he knows where I am at any given
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point in the day.
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Although he should never be touching this, because
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he has a whole set of his own.
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But just in any given case, if I'm
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like, hey, can you grab me a card,
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he knows what I am referring to.
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Now, this is a Lowepro bag.
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I've gone through different bags where there's Velcro
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along the side.
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I have done where all the cards, all
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the clean cards are in one pocket and
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all the used cards are in another.
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I just felt that for some reason, this
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worked for me a lot better over the
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years.
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So we're gonna go to my most favorite
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lens and the lens that I use the
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absolute most, because for my style, it is
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the most diverse.
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It is the Canon 50 millimeter 1.2.
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I use this so often.
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As you see in lessons of me doing
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the shoots and as you will see, I'm
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guessing highly on the wedding day with the
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knot.
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This is my go-to lens.
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This is what I travel with.
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This is what I use.
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This is how I curate personal aspects of
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my life.
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I love it because of its versatility and
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I can use it at every single time
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of the day.
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Every single time.
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The 50 millimeter never leaves my bag because
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I need it at some point or another.
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The fact that it's a 1.2 gives
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me a lot of option when it comes
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to varying available light.
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I can be in a dark room during
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prep and I can just shoot at an
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800 ISO and at a 1.2 and
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produce images that I'm still really proud of
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and that truly reflect my style without having
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to use flash.
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My second most used and favorite camera is
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the Canon 35 1.4. This lens was
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such a great lens and I didn't get
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it up until later on in the game
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because I had stylistically, earlier in my career,
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had purchased other L series lenses thinking that
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that was what I needed.
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But truth be told, up until I think
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this was three, four years ago that I
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got this lens, this was the lens that
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I needed.
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Because of my style, I'm a lifestyle photographer,
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I should be staying away from really wide
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photos because I can't curate width to such
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a large degree but I can curate depth
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to a degree.
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And when you use a lens like the
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24, the 16 to 35, both lenses that
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I own, I was getting far too much
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in the frame to actually convey the fact
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that I was a lifestyle photographer.
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I use the 35 for couples portraits and
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landscape pictures but the beauty of the 35
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is that it's measured closely to what the
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eye naturally sees from periphery to periphery.
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So what you're looking at is what you're
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going to get when shooting a full frame
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camera.
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Third most used lens would be the 85
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1.2. This lens is so heavy but
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it's beautiful and it works so well and
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you get creamy, buttery skin tones.
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When shooting a bride specifically at a distance,
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there's something about the compression of this lens
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that produces such a beautiful photo and you
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can really see bokeh so magnified by using
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this lens.
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I understand that there are very few photographers
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who like, not few, but there are fewer
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photographers who like using this lens because it
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does take a longer time to focus.
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We're gonna get into the differences between the
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85 1.8 and the 1.2, both
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lenses that I used and loved.
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But for some reason, that 1.2, the
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creaminess of skin tones when you lock into
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a bride's eye and there's light flickering off
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a tree in the background, it's stunning.
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So we're gonna move into other gear that
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I use on a wedding day.
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So the fourth lens that I use the
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most would be the 70-200 IS 2
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.8. Now, this lens is the lens that
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every wedding photographer needs, not wants, you need
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it.
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Now, it's also expensive and I don't really
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use this lens at any other point besides
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the ceremony.
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Because of this, if you're kind of figuring
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out what lenses you need to buy and
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when, I would heavily suggest that you rent
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this lens for every wedding that you shoot
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without the pressure of having to buy it.
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But you need it because in shooting in
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a dark church or shooting at a ceremony
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and you have to shoot at a distance
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by request from family members, by a priest,
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by a church lady, this is the only
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lens that's gonna get you close enough to
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yield the type of results that you need
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and you want.
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There is a 70-200 without IS image
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stability.
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Image stability has been a life changer in
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really dark situations.
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It really is clutch.
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Now, if you're more of a photojournalistic photographer,
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this lens is amazing.
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That's definitely what you want to use.
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Now, this lens is the 100 millimeter macro
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IS.
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This is a great lens and I love
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it.
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I wish I used it more for different
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parts of the day, but quite honestly, I
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00:08:25,750 --> 00:08:27,970
use it just to shoot the ring.
249
00:08:28,330 --> 00:08:30,470
If the bodice of the dress has jewels
250
00:08:30,470 --> 00:08:31,809
on it, I will shoot it then.
251
00:08:32,230 --> 00:08:34,590
And maybe, just maybe, I might use it
252
00:08:34,590 --> 00:08:36,010
during the reception if I feel like there's
253
00:08:36,010 --> 00:08:37,570
a lot of dangling jewels that I need
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00:08:37,570 --> 00:08:38,590
to get detail shots of.
255
00:08:38,590 --> 00:08:40,730
But this comes out of this bag maybe
256
00:08:40,730 --> 00:08:41,789
once a day.
257
00:08:42,289 --> 00:08:43,910
But I have invested in it because I
258
00:08:43,910 --> 00:08:45,050
know that I could not get the ring
259
00:08:45,050 --> 00:08:47,090
shots that I want without this lens.
260
00:08:48,910 --> 00:08:50,810
So now what we're gonna move into is
261
00:08:50,810 --> 00:08:53,110
what I call my lazy girl lens.
262
00:08:53,310 --> 00:08:55,570
I love it, but I don't use it
263
00:08:55,570 --> 00:08:56,270
as much as I did.
264
00:08:56,570 --> 00:08:58,250
This was the very first lens that I
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00:08:58,250 --> 00:09:00,030
ever bought in my career.
266
00:09:00,130 --> 00:09:01,430
And I say I, and I really mean
267
00:09:01,430 --> 00:09:03,390
JD, because I didn't believe in myself enough,
268
00:09:03,490 --> 00:09:05,330
so he bought me this lens.
269
00:09:05,330 --> 00:09:07,850
And it was such a great lens to
270
00:09:07,850 --> 00:09:09,970
learn from because you were able to see
271
00:09:09,970 --> 00:09:10,790
width and depth.
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00:09:10,990 --> 00:09:12,490
It ranges from a 24 to 70.
273
00:09:12,650 --> 00:09:13,910
It's a zoom lens, and I thought it
274
00:09:13,910 --> 00:09:16,750
was great because I thought that photographers, if
275
00:09:16,750 --> 00:09:17,950
you had a zoom lens, you were just
276
00:09:17,950 --> 00:09:18,250
legit.
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00:09:18,950 --> 00:09:19,850
I mean, little did I know.
278
00:09:20,490 --> 00:09:22,450
And so this was such a great lens
279
00:09:22,450 --> 00:09:23,950
in that I was able to get diversity
280
00:09:23,950 --> 00:09:27,050
without having to change lenses on my camera.
281
00:09:27,650 --> 00:09:29,790
But I could not get the results that
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00:09:29,790 --> 00:09:32,090
I wanted without shooting prime.
283
00:09:32,470 --> 00:09:34,390
The fact that it shoots widest at a
284
00:09:34,390 --> 00:09:36,050
2.8, which is beautiful and which is
285
00:09:36,050 --> 00:09:38,590
lovely, was wonderful, but it wasn't what I
286
00:09:38,590 --> 00:09:39,990
was looking for stylistically.
287
00:09:40,190 --> 00:09:41,770
I really like what you can shoot at
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00:09:41,770 --> 00:09:44,670
an F2, at an F1.2. Those types
289
00:09:44,670 --> 00:09:46,770
of results are only yielded with wider apertures
290
00:09:46,770 --> 00:09:48,070
that I couldn't get here.
291
00:09:48,270 --> 00:09:50,730
I still use this lens often.
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00:09:50,910 --> 00:09:52,010
I might bring it out on a wedding
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00:09:52,010 --> 00:09:54,270
day, but it's more traditionally for family photos.
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00:09:54,530 --> 00:09:56,830
If I feel family photos are gonna range
295
00:09:56,830 --> 00:09:59,470
really quick between four people and all of
296
00:09:59,470 --> 00:10:00,610
a sudden we have 20, I don't wanna
297
00:10:00,610 --> 00:10:02,890
keep on having to swap lenses, so this
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00:10:02,890 --> 00:10:05,530
is a great clutch lens for that.
299
00:10:06,430 --> 00:10:08,510
Now what I wanna get into a little
300
00:10:08,510 --> 00:10:11,270
quickly are these two lenses.
301
00:10:11,990 --> 00:10:15,190
This is the 50 millimeter 1.4. This
302
00:10:15,190 --> 00:10:18,150
is the 85 millimeter 1.8. These are
303
00:10:18,150 --> 00:10:19,510
the lenses that I started with.
304
00:10:20,010 --> 00:10:22,370
10 years later, they are still kicking.
305
00:10:23,010 --> 00:10:25,150
10 years later, these are what J.D.
306
00:10:25,250 --> 00:10:26,610
shoots with exclusively.
307
00:10:27,310 --> 00:10:29,830
They're our wedding guests who have nicer cameras
308
00:10:29,830 --> 00:10:32,530
and lenses, maybe not nicer cameras, nicer lenses
309
00:10:32,530 --> 00:10:34,150
than J.D., and he doesn't care.
310
00:10:34,510 --> 00:10:36,790
We had business discussions about, we can get
311
00:10:36,790 --> 00:10:37,950
a write-off if you want a new
312
00:10:37,950 --> 00:10:39,290
lens, and he said no.
313
00:10:39,630 --> 00:10:42,690
He does not like shooting the 85 1
314
00:10:42,690 --> 00:10:46,390
.2 because it focuses far too slowly for
315
00:10:46,390 --> 00:10:46,570
him.
316
00:10:47,250 --> 00:10:49,350
He is a slower, methodical photographer.
317
00:10:50,030 --> 00:10:51,610
I am the spearhead.
318
00:10:51,850 --> 00:10:56,110
My style is lifestyle, but J.D. within
319
00:10:56,110 --> 00:10:58,890
the lifestyle spectrum shoots a lot more photojournalistic.
320
00:10:59,130 --> 00:10:59,970
He does no posing.
321
00:10:59,970 --> 00:11:01,950
He captures moments as they happen.
322
00:11:02,210 --> 00:11:04,010
So you'll see him a lot more at
323
00:11:04,010 --> 00:11:06,190
a distance with the 85, and because these
324
00:11:06,190 --> 00:11:08,510
types of moments happen so quickly, he does
325
00:11:08,510 --> 00:11:13,030
not like the gee, gee, that this camera
326
00:11:13,030 --> 00:11:13,490
produces.
327
00:11:14,890 --> 00:11:17,850
This right here is golden, and it's amazing,
328
00:11:18,350 --> 00:11:21,390
and both of these lenses independent, or each
329
00:11:21,390 --> 00:11:22,850
one is less than $400.
330
00:11:23,410 --> 00:11:25,790
These are such great lenses to start with
331
00:11:25,790 --> 00:11:27,490
if you're trying to build your portfolio and
332
00:11:27,490 --> 00:11:29,350
starting off with prime lenses.
333
00:11:29,910 --> 00:11:31,750
I love them, and you get the most
334
00:11:31,750 --> 00:11:32,830
bang for your buck with them.
335
00:11:33,870 --> 00:11:36,010
I have a backup camera that I take
336
00:11:36,010 --> 00:11:39,010
to every engagement session and wedding, and it
337
00:11:39,010 --> 00:11:42,350
stays in the bag, but before we shoot
338
00:11:42,350 --> 00:11:44,390
a wedding, we are always syncing our cameras
339
00:11:44,390 --> 00:11:45,990
to make sure that all the shooters who
340
00:11:45,990 --> 00:11:47,490
are shooting have the same timestamp.
341
00:11:48,090 --> 00:11:51,130
So all three, four of our cameras are
342
00:11:51,130 --> 00:11:53,230
backed up at the same time before every
343
00:11:53,230 --> 00:11:53,490
wedding.
344
00:11:54,830 --> 00:11:58,470
Now, what we're gonna get into is this
345
00:11:58,470 --> 00:11:58,810
lens.
346
00:11:59,370 --> 00:12:01,470
This is the 16 to 35, and you
347
00:12:01,470 --> 00:12:02,830
might be thinking, what is she doing with
348
00:12:02,830 --> 00:12:03,070
that?
349
00:12:03,430 --> 00:12:05,470
I will say that this was the third
350
00:12:05,470 --> 00:12:07,590
lens that I got in my business, and
351
00:12:07,590 --> 00:12:08,730
this is the third lens that I got
352
00:12:08,730 --> 00:12:10,930
in my business because I saw my wedding
353
00:12:10,930 --> 00:12:13,110
photographer use it, so I thought I needed
354
00:12:13,110 --> 00:12:13,490
it.
355
00:12:15,770 --> 00:12:18,250
16 millimeters is so long.
356
00:12:18,950 --> 00:12:21,710
It's like a, wide, it's like a hair
357
00:12:21,710 --> 00:12:23,470
away from like a fish eye lens.
358
00:12:23,470 --> 00:12:26,770
I mean, it is wide, and what I
359
00:12:26,770 --> 00:12:29,210
thought was really important, this lens is somewhere
360
00:12:29,210 --> 00:12:30,250
in the ballpark of $1,200 or $1
361
00:12:30,250 --> 00:12:32,590
,300, and I bent over backwards.
362
00:12:32,750 --> 00:12:33,830
I saved and I saved and I saved
363
00:12:33,830 --> 00:12:35,270
to get this lens, and then I used
364
00:12:35,270 --> 00:12:36,570
it for maybe a couple weddings.
365
00:12:37,090 --> 00:12:38,530
I can't let go of it for sentimental
366
00:12:38,530 --> 00:12:40,610
reasons, although I did think that maybe after
367
00:12:40,610 --> 00:12:42,010
this course, I haven't, about to stop by
368
00:12:42,010 --> 00:12:43,730
JD, I thought that I would, because I
369
00:12:43,730 --> 00:12:45,130
have not used it, I used it for
370
00:12:45,130 --> 00:12:47,390
a few weddings 10 years ago, I thought
371
00:12:47,390 --> 00:12:49,590
maybe I should auction it on eBay and
372
00:12:49,590 --> 00:12:51,530
then donate all the money to charity because
373
00:12:51,530 --> 00:12:52,650
I don't use it.
374
00:12:52,650 --> 00:12:54,690
I don't use it, I think it should
375
00:12:54,690 --> 00:12:57,830
be given to, not given, sold to the
376
00:12:57,830 --> 00:13:00,590
highest bidder for a goodwill.
377
00:13:00,730 --> 00:13:03,410
So this other winner wins, a charity wins,
378
00:13:03,570 --> 00:13:05,010
and then it's not on my hands and
379
00:13:05,010 --> 00:13:06,390
I don't feel guilty for not using it
380
00:13:06,390 --> 00:13:06,670
as much.
381
00:13:07,050 --> 00:13:09,790
Although, this would be so fantastic and really
382
00:13:09,790 --> 00:13:11,270
wide, like if you wanna shoot all the
383
00:13:11,270 --> 00:13:13,150
guests at once, if you wanna stand at
384
00:13:13,150 --> 00:13:15,270
a distance and shoot down to the guests,
385
00:13:15,330 --> 00:13:17,750
that works, but the problem with shooting at
386
00:13:17,750 --> 00:13:20,310
like a six, like so wide at 16
387
00:13:20,310 --> 00:13:22,670
millimeters, is that there's so much distortion along
388
00:13:22,670 --> 00:13:25,450
the sides that if somebody is standing on
389
00:13:25,450 --> 00:13:27,730
the end, you know, and they're this way,
390
00:13:27,850 --> 00:13:29,950
it's like their booty got like five inches
391
00:13:29,950 --> 00:13:32,590
deep, that's probably not the thing that you
392
00:13:32,590 --> 00:13:32,910
want.
393
00:13:33,570 --> 00:13:34,970
One last lens, I went a little bit
394
00:13:34,970 --> 00:13:36,290
out of order, but this is the 24.
395
00:13:36,810 --> 00:13:39,710
Now this was the first L-series wide
396
00:13:39,710 --> 00:13:42,230
angle lens that I got because I thought
397
00:13:42,230 --> 00:13:43,790
that it was something I needed, but in
398
00:13:43,790 --> 00:13:45,690
true reality, what reflects more of my style
399
00:13:45,690 --> 00:13:46,490
would be the 35.
400
00:13:46,890 --> 00:13:49,050
But I still am so happy that I
401
00:13:49,050 --> 00:13:51,410
shoot with the 24 because the 24 is
402
00:13:51,410 --> 00:13:53,790
the lens that I use the most during
403
00:13:53,790 --> 00:13:55,390
reception dancing with guests.
404
00:13:55,810 --> 00:13:59,850
Because you're always in really tight areas, and
405
00:13:59,850 --> 00:14:01,490
people like shooting with maybe the 50 or
406
00:14:01,490 --> 00:14:04,110
the 35, you get maybe one, maybe two
407
00:14:04,110 --> 00:14:06,310
people dancing in the frame, and dancing photos
408
00:14:06,310 --> 00:14:08,530
aren't ever really all that complimentary of people,
409
00:14:08,790 --> 00:14:09,010
right?
410
00:14:09,330 --> 00:14:10,210
They're just not.
411
00:14:10,830 --> 00:14:12,870
But shooting with the 24, you actually, it's
412
00:14:12,870 --> 00:14:13,770
a storytelling lens.
413
00:14:13,890 --> 00:14:15,990
You get more of who's dancing around them,
414
00:14:16,070 --> 00:14:18,690
and then the picture becomes a story instead
415
00:14:18,690 --> 00:14:20,230
of a very curated photo.
416
00:14:20,530 --> 00:14:21,870
So this right here is what you will
417
00:14:21,870 --> 00:14:24,250
see me day in, day out shoot with
418
00:14:24,250 --> 00:14:26,430
during reception dancing.
419
00:14:26,710 --> 00:14:29,090
Now let's move into light.
420
00:14:29,470 --> 00:14:31,610
So this is a newer addition to my
421
00:14:31,610 --> 00:14:31,850
bag.
422
00:14:32,050 --> 00:14:34,330
This is the 600EX-RT.
423
00:14:34,750 --> 00:14:37,050
This is the newest Canon flash.
424
00:14:37,190 --> 00:14:39,390
I was shooting with multiple different types of
425
00:14:39,390 --> 00:14:42,830
us, always Canon before, but this flash is
426
00:14:42,830 --> 00:14:43,470
worth it.
427
00:14:43,570 --> 00:14:45,570
I think that when it comes to gear,
428
00:14:46,290 --> 00:14:48,050
truly lighting gear, you get what you pay
429
00:14:48,050 --> 00:14:48,250
for.
430
00:14:48,790 --> 00:14:50,490
This lens, you can easily get a 400
431
00:14:50,490 --> 00:14:52,510
series flash, and it does not perform the
432
00:14:52,510 --> 00:14:53,930
way that this does, and because we do
433
00:14:53,930 --> 00:14:55,590
this professionally, and I always shoot in dark
434
00:14:55,590 --> 00:14:57,810
receptions, this has paid off in gold.
435
00:14:58,270 --> 00:15:00,170
So how I usually shoot is I will
436
00:15:00,170 --> 00:15:03,110
bring up this, I will tuck the clear
437
00:15:03,110 --> 00:15:05,130
part back, I will flip up my white
438
00:15:05,130 --> 00:15:06,850
card, and now I have a bounce card.
439
00:15:07,150 --> 00:15:10,230
And this is how I shoot all the
440
00:15:10,230 --> 00:15:10,490
time.
441
00:15:10,890 --> 00:15:13,190
I might, in difficult situations, or without something
442
00:15:13,190 --> 00:15:14,270
to bounce above me, I might tip it
443
00:15:14,270 --> 00:15:17,030
forward ever so slightly, but this is definitely
444
00:15:17,030 --> 00:15:18,010
where it's staying.
445
00:15:18,590 --> 00:15:20,650
Now, some people might wonder, well how is
446
00:15:20,650 --> 00:15:21,850
she getting the light that she does, and
447
00:15:21,850 --> 00:15:22,950
we're gonna get into that in a second,
448
00:15:23,010 --> 00:15:23,890
and it comes in two ways.
449
00:15:27,600 --> 00:15:29,160
I feel like I'm on QVC.
450
00:15:31,560 --> 00:15:32,360
Okay, great.
451
00:15:33,320 --> 00:15:37,940
So for those who are interested, here is
452
00:15:37,940 --> 00:15:39,580
the 580EX-II.
453
00:15:39,860 --> 00:15:42,320
This is what JD's flash will be.
454
00:15:42,860 --> 00:15:46,180
Same white card that flips up, and that's
455
00:15:46,180 --> 00:15:46,860
what he shoots with.
456
00:15:48,680 --> 00:15:51,480
Now, before I show this one, tuck this
457
00:15:51,480 --> 00:15:53,300
one away, I wanna show what our lighting
458
00:15:53,300 --> 00:15:55,360
looks like in pinch situations.
459
00:15:56,040 --> 00:15:58,620
These are dot line LED lights that videographers
460
00:15:58,620 --> 00:15:59,640
normally use.
461
00:15:59,960 --> 00:16:01,660
You can change the color balance and the
462
00:16:01,660 --> 00:16:02,620
strength behind them.
463
00:16:03,000 --> 00:16:04,740
These are about, if my memory serves me
464
00:16:04,740 --> 00:16:08,220
correct, about $119 a piece, but they are
465
00:16:08,220 --> 00:16:10,160
worth their weight in gold.
466
00:16:10,680 --> 00:16:13,000
We will get into really dark situations, and
467
00:16:13,000 --> 00:16:14,800
a client may or may not have, okay,
468
00:16:15,280 --> 00:16:16,980
so when I first started shooting, I didn't
469
00:16:16,980 --> 00:16:19,600
have the luxury of clients lighting up their
470
00:16:19,600 --> 00:16:20,220
receptions.
471
00:16:20,620 --> 00:16:22,900
Now, the bigger the budget gets, the more
472
00:16:22,900 --> 00:16:24,340
type of lighting that they can afford.
473
00:16:24,460 --> 00:16:27,220
They might pay for, first and foremost, lighting
474
00:16:27,220 --> 00:16:28,860
on the dance floor, which is helpful, but
475
00:16:28,860 --> 00:16:30,880
what's helpful from an ambient perspective is a
476
00:16:30,880 --> 00:16:33,240
client can pay for up lighting along the
477
00:16:33,240 --> 00:16:33,500
wall.
478
00:16:33,980 --> 00:16:35,940
Even better is if they have what we
479
00:16:35,940 --> 00:16:37,820
call up lighting, and then they have pin
480
00:16:37,820 --> 00:16:38,220
lighting.
481
00:16:38,840 --> 00:16:40,540
Up lighting is against the wall, putting up,
482
00:16:40,660 --> 00:16:43,660
illuminating the walls to create a sensation of
483
00:16:43,660 --> 00:16:46,740
depth, and pin lighting is pointing down at
484
00:16:46,740 --> 00:16:49,140
certain aspects of the room, say, like centerpieces
485
00:16:49,140 --> 00:16:49,900
that should be noted.
486
00:16:50,260 --> 00:16:52,500
It really makes the biggest difference.
487
00:16:52,720 --> 00:16:56,120
However, I have shot a ton, and still,
488
00:16:56,240 --> 00:16:58,120
to this day, shoot weddings that do not
489
00:16:58,120 --> 00:17:00,080
have pin lighting and up lighting.
490
00:17:00,420 --> 00:17:02,160
Most of the weddings now, you can get
491
00:17:02,160 --> 00:17:04,700
really great up lighting options at an effective
492
00:17:04,700 --> 00:17:06,839
price, so more brides are adding it, but
493
00:17:06,839 --> 00:17:10,680
not everybody will add the pin lighting.
494
00:17:11,260 --> 00:17:14,680
So, JD will hold a light as a
495
00:17:14,680 --> 00:17:16,800
pin light about four feet from the table,
496
00:17:17,119 --> 00:17:19,300
and then hold another light as a side
497
00:17:19,300 --> 00:17:19,680
light.
498
00:17:20,099 --> 00:17:22,220
So, we are illuminating about one table at
499
00:17:22,220 --> 00:17:24,079
a time, but it actually looks like it's
500
00:17:24,079 --> 00:17:26,220
professionally lit, and that's what I'll take, because
501
00:17:26,220 --> 00:17:31,140
that's setting my work already apart from others.
502
00:17:31,300 --> 00:17:32,200
And so, these are really helpful.
503
00:17:32,320 --> 00:17:34,400
Also, in situations where we're at the reception,
504
00:17:34,400 --> 00:17:36,680
and it's sometimes dark, and I'm in a
505
00:17:36,680 --> 00:17:38,820
dark corner, I'll have JD hold the light
506
00:17:38,820 --> 00:17:41,500
off to the side, or from behind them,
507
00:17:41,560 --> 00:17:43,140
and then I will shoot them with my
508
00:17:43,140 --> 00:17:43,540
flash.
509
00:17:43,640 --> 00:17:44,700
And so, now we get a little bit
510
00:17:44,700 --> 00:17:45,900
of rim light around their hair, so it
511
00:17:45,900 --> 00:17:48,520
just doesn't look like that traditional poof picture.
512
00:17:49,320 --> 00:17:51,140
That's a very big description, right?
513
00:17:51,240 --> 00:17:51,820
Like, poof.
514
00:17:52,400 --> 00:17:56,460
Okay, now let's get into, we'll get into
515
00:17:56,460 --> 00:17:59,520
my off-camera lighting setup.
516
00:18:02,240 --> 00:18:06,540
So, this is what we take to every
517
00:18:06,540 --> 00:18:08,720
wedding anywhere in the world.
518
00:18:09,660 --> 00:18:12,160
This is a very simple, standard tripod.
519
00:18:12,580 --> 00:18:14,520
People have asked me what the tripod was,
520
00:18:14,720 --> 00:18:16,540
but I bought it like eight years ago,
521
00:18:16,760 --> 00:18:19,360
and it's almost 100% something generic.
522
00:18:19,500 --> 00:18:20,600
It doesn't even have a label on it.
523
00:18:20,760 --> 00:18:21,780
So, just know that you can get a
524
00:18:21,780 --> 00:18:23,560
very simple, basic tripod.
525
00:18:26,120 --> 00:18:32,340
This flash is I can't get it off,
526
00:18:32,460 --> 00:18:32,820
oh, here it is.
527
00:18:33,100 --> 00:18:36,100
This flash is a really old school, you
528
00:18:36,100 --> 00:18:37,640
can't find these anymore, which is why I'm
529
00:18:37,640 --> 00:18:39,900
not going to endorse them officially.
530
00:18:40,440 --> 00:18:43,440
It's a SunPak Auto 383 Super.
531
00:18:43,860 --> 00:18:46,780
I mean, you guys, this is just laughable.
532
00:18:47,380 --> 00:18:49,740
But the beauty of this flash is that
533
00:18:49,740 --> 00:18:51,180
at the time I bought it, it was
534
00:18:51,180 --> 00:18:55,220
$100, and I can manually set the power
535
00:18:55,220 --> 00:18:56,780
of the flash to 116.
536
00:18:57,160 --> 00:18:59,420
I need a tiny bit of pop of
537
00:18:59,420 --> 00:19:01,380
light, and I also need the batteries to
538
00:19:01,380 --> 00:19:02,200
recycle quickly.
539
00:19:02,600 --> 00:19:05,240
Shooting this at 116, it was firing every
540
00:19:05,240 --> 00:19:06,420
time that I needed it.
541
00:19:07,420 --> 00:19:09,680
So, this is a Westcott Rapidbox.
542
00:19:09,920 --> 00:19:10,780
It's an Octo Mini.
543
00:19:11,000 --> 00:19:12,800
I have shot with bigger.
544
00:19:13,300 --> 00:19:16,500
I used to shoot with the Photoflex, and
545
00:19:16,500 --> 00:19:18,080
it was about, I think, 20, 22 inches
546
00:19:18,080 --> 00:19:18,440
in diameter.
547
00:19:18,520 --> 00:19:20,200
It was pretty big, but what I realized
548
00:19:20,200 --> 00:19:22,100
was I didn't need it to be diffused
549
00:19:22,100 --> 00:19:23,160
in such a capacity.
550
00:19:23,540 --> 00:19:25,520
In fact, in a pinch, I could just
551
00:19:25,520 --> 00:19:27,980
shoot with this flash off in a corner
552
00:19:27,980 --> 00:19:31,680
by a speaker, and we would be okay.
553
00:19:31,920 --> 00:19:34,680
But I just like the soft appeal that
554
00:19:34,680 --> 00:19:37,740
we get with the small diffuser.
555
00:19:38,040 --> 00:19:39,140
And the beauty of this is that this
556
00:19:39,140 --> 00:19:41,440
folds down to be really thin, and then
557
00:19:41,440 --> 00:19:43,280
this breaks down to be really thin, and
558
00:19:43,280 --> 00:19:44,540
we pack it at the bottom of our
559
00:19:44,540 --> 00:19:44,780
suitcase.
560
00:19:45,960 --> 00:19:46,260
Great.
561
00:19:46,880 --> 00:19:51,460
So, what we're using now on that flash
562
00:19:52,040 --> 00:19:53,640
is a Canon 580EX.
563
00:19:54,220 --> 00:19:56,120
So, we're gonna set this manually to 116
564
00:19:56,120 --> 00:19:56,460
power.
565
00:19:56,460 --> 00:19:58,200
It'll be the same thing, and we're gonna
566
00:19:58,200 --> 00:20:00,000
set it up on the dance floor.
567
00:20:00,080 --> 00:20:01,100
And how does this get fired?
568
00:20:01,980 --> 00:20:03,360
Well, this gets fired, and this is a
569
00:20:03,360 --> 00:20:06,420
question that I get so often from photographers.
570
00:20:07,500 --> 00:20:12,560
How do we fire the flash if the
571
00:20:12,560 --> 00:20:13,680
flash is on my camera?
572
00:20:17,660 --> 00:20:17,800
Okay.
573
00:20:20,060 --> 00:20:22,320
So, usually, when you shoot with a pocket
574
00:20:22,320 --> 00:20:23,920
wizard, which is what I have to fire
575
00:20:23,920 --> 00:20:24,380
my flashes.
576
00:20:24,520 --> 00:20:25,720
Now, I understand that there are gonna be
577
00:20:25,720 --> 00:20:30,480
photographers who say, well, the 600EX-RT have
578
00:20:30,480 --> 00:20:33,300
sensors that you could be chatting to your
579
00:20:33,300 --> 00:20:34,980
other matchable flashes with.
580
00:20:35,140 --> 00:20:36,600
Yes, I know, and I heard they work
581
00:20:36,600 --> 00:20:39,640
great, but on a wedding, I need a
582
00:20:39,640 --> 00:20:44,220
clear view between my, my sense, like, why
583
00:20:44,220 --> 00:20:44,860
am I getting caught up?
584
00:20:45,340 --> 00:20:47,280
My flashes need to be facing each other.
585
00:20:47,660 --> 00:20:51,040
With this, it's a surefire thing.
586
00:20:51,580 --> 00:20:53,800
And when my clients are paying me for
587
00:20:53,800 --> 00:20:55,500
what I need, the trigger system works so
588
00:20:55,500 --> 00:20:56,140
much better for me.
589
00:20:56,220 --> 00:20:59,520
So, pocket wizards are great, but usually, they
590
00:20:59,520 --> 00:21:01,420
are put on top of your camera.
591
00:21:02,020 --> 00:21:03,680
But I needed a two light source.
592
00:21:03,940 --> 00:21:05,540
So, I went into a photo shop in
593
00:21:05,540 --> 00:21:08,100
Orange County called Sammy's, and I said, I
594
00:21:08,100 --> 00:21:10,400
need a pocket wizard because I don't shoot
595
00:21:10,400 --> 00:21:11,260
with a battery pack.
596
00:21:11,680 --> 00:21:13,500
I think it's just more weight on my
597
00:21:13,500 --> 00:21:15,640
hand that I don't need, and I'm okay
598
00:21:15,640 --> 00:21:16,860
switching out a battery because it takes me
599
00:21:16,860 --> 00:21:17,680
about two seconds.
600
00:21:18,080 --> 00:21:20,020
So, I usually think of a battery pack.
601
00:21:20,060 --> 00:21:21,540
It takes in the screw up in the
602
00:21:21,540 --> 00:21:22,600
area, but because I don't have a battery
603
00:21:22,600 --> 00:21:23,620
pack, I have the screw available.
604
00:21:23,620 --> 00:21:25,540
I walked in, I said, I shoot with
605
00:21:25,540 --> 00:21:25,940
a flash.
606
00:21:26,100 --> 00:21:28,080
I need to mount something to the bottom.
607
00:21:28,900 --> 00:21:31,800
So, this little genius of a guy went,
608
00:21:31,980 --> 00:21:34,600
and they sold pieces to cameras, and I
609
00:21:34,600 --> 00:21:35,460
don't know what he did.
610
00:21:35,580 --> 00:21:37,680
He just walked behind, and he picked out
611
00:21:37,680 --> 00:21:38,540
four different pieces.
612
00:21:43,050 --> 00:21:45,030
Okay, this right here is what he made.
613
00:21:45,850 --> 00:21:47,890
I don't know what these pieces are called.
614
00:21:48,310 --> 00:21:49,210
I have no idea.
615
00:21:49,250 --> 00:21:50,950
I actually told JD that we could probably
616
00:21:50,950 --> 00:21:52,630
try to replicate it and then sell it
617
00:21:52,630 --> 00:21:55,310
to photographers, but it was a joke, and
618
00:21:55,310 --> 00:21:56,090
I wouldn't do that.
619
00:21:57,130 --> 00:21:59,350
I don't know exactly what he did, but
620
00:21:59,350 --> 00:22:00,070
he was a genius.
621
00:22:02,610 --> 00:22:04,690
So, what we do is we screw this
622
00:22:04,690 --> 00:22:06,290
into the bottom of our camera, and these
623
00:22:06,290 --> 00:22:09,890
always stay connected.
624
00:22:13,470 --> 00:22:14,530
Here we go, now we're cooking a fire.
625
00:22:14,950 --> 00:22:17,010
Okay, so then now it's plugged into the
626
00:22:17,010 --> 00:22:20,330
bottom, and I simply plug it in to
627
00:22:20,330 --> 00:22:20,470
here.
628
00:22:22,980 --> 00:22:23,760
That's my setup.
629
00:22:24,240 --> 00:22:27,680
So, every time I click, this fires here,
630
00:22:27,900 --> 00:22:29,600
and then wherever I am in the room,
631
00:22:29,600 --> 00:22:32,160
this right here, we just simply tie it
632
00:22:32,160 --> 00:22:32,360
here.
633
00:22:32,560 --> 00:22:33,220
We slip it in.
634
00:22:33,360 --> 00:22:35,480
We like a slipknot right there.
635
00:22:35,980 --> 00:22:37,100
The flash is here.
636
00:22:38,160 --> 00:22:40,460
Wherever I am in the room, this off
637
00:22:40,460 --> 00:22:42,060
-camera light setup does not move.
638
00:22:42,360 --> 00:22:43,760
We want to make sure that the money
639
00:22:43,760 --> 00:22:45,520
our clients have spent to decorate the room
640
00:22:45,520 --> 00:22:47,260
isn't degraded by our lighting gear.
641
00:22:47,660 --> 00:22:49,640
So, we put this next to a speaker.
642
00:22:50,160 --> 00:22:52,280
The light is black, and in a dark
643
00:22:52,280 --> 00:22:53,980
room next to a black speaker, it's not
644
00:22:53,980 --> 00:22:54,960
very noticeable.
645
00:22:55,840 --> 00:22:58,420
So, people ask if I move this around
646
00:22:58,420 --> 00:22:59,200
for optimal light.
647
00:22:59,200 --> 00:23:01,720
No, but I find ways to position myself
648
00:23:01,720 --> 00:23:03,200
to actually leverage that light.
649
00:23:03,320 --> 00:23:05,960
I love shooting with this behind any subjects
650
00:23:05,960 --> 00:23:07,980
on the dance floor, but sometimes even if
651
00:23:07,980 --> 00:23:09,320
they're side-lit, you can get a really
652
00:23:09,320 --> 00:23:09,860
cool photo.
653
00:23:10,100 --> 00:23:11,460
If I happen to be moving on the
654
00:23:11,460 --> 00:23:13,420
dance floor, and I'm standing anywhere close to
655
00:23:13,420 --> 00:23:15,820
where this thing is illuminating my subjects, I
656
00:23:15,820 --> 00:23:18,560
turn off my camera light and just use
657
00:23:18,560 --> 00:23:18,960
this.
658
00:23:19,820 --> 00:23:22,400
So, during a first dance, we're gonna get
659
00:23:22,400 --> 00:23:23,860
to that in a second, we're gonna get
660
00:23:23,860 --> 00:23:24,800
to that in a second, but during a
661
00:23:24,800 --> 00:23:27,680
first dance, I have become accustomed of shooting
662
00:23:27,680 --> 00:23:31,220
with two light sources, one light source, one
663
00:23:31,220 --> 00:23:33,880
or one or none if we're working with
664
00:23:33,880 --> 00:23:35,400
a videographer, and I can shoot at like
665
00:23:35,400 --> 00:23:37,840
1600 ISO at a 1.2 and produce
666
00:23:37,840 --> 00:23:38,920
photos that I really like.
667
00:23:39,900 --> 00:23:41,260
So, now what we're gonna do is we're
668
00:23:41,260 --> 00:23:43,860
going to go through what it looks like
669
00:23:43,860 --> 00:23:46,000
at each portion of the day.
670
00:23:46,160 --> 00:23:48,540
So, now we're actually into the section of
671
00:23:48,540 --> 00:23:50,420
what are the best lenses to use at
672
00:23:50,420 --> 00:23:51,320
different portions of the day.
673
00:23:51,520 --> 00:23:55,560
So, with preparation, JD is with the guys,
674
00:23:56,220 --> 00:23:57,660
and I am with the girls.
675
00:23:58,380 --> 00:24:02,860
JD's setup, when he shoots the guys, this
676
00:24:02,860 --> 00:24:07,680
for wide, 24 to 70 for guys, the
677
00:24:07,680 --> 00:24:13,810
50 1.4, the 85 1.2, and
678
00:24:13,810 --> 00:24:16,770
we have 100 millimeter macro, but not the
679
00:24:16,770 --> 00:24:19,250
IS, the original model, that's what he uses
680
00:24:19,250 --> 00:24:20,510
for the guys, and he'll use that to
681
00:24:20,510 --> 00:24:24,190
shoot like tie clips or cuff links.
682
00:24:24,590 --> 00:24:26,050
Now, when I'm with the girls, the lenses
683
00:24:26,050 --> 00:24:28,210
I carry with me are the 35 millimeter
684
00:24:28,210 --> 00:24:30,810
1.4 to get wide shots as she's
685
00:24:30,810 --> 00:24:31,230
preparing.
686
00:24:31,870 --> 00:24:34,310
I get the 85 1.2. I will
687
00:24:34,310 --> 00:24:36,410
use this as she's getting her makeup if
688
00:24:36,410 --> 00:24:37,430
I stand in a corner.
689
00:24:37,630 --> 00:24:38,730
I don't wanna be right next to the
690
00:24:38,730 --> 00:24:39,190
makeup artist.
691
00:24:39,470 --> 00:24:40,870
If I was shooting with the 35 or
692
00:24:40,870 --> 00:24:42,130
the 50, I might be too much in
693
00:24:42,130 --> 00:24:44,610
their space, but the 85 1.2, because
694
00:24:44,610 --> 00:24:46,970
my subject is sitting, and she's usually sitting
695
00:24:46,970 --> 00:24:49,090
in good light because makeup artists need good
696
00:24:49,090 --> 00:24:50,850
light, I can shoot at a 1.2
697
00:24:50,850 --> 00:24:52,870
and just blur out all of like the
698
00:24:52,870 --> 00:24:54,630
messiness of the room behind her.
699
00:24:54,630 --> 00:24:56,010
That's what I absolutely love.
700
00:24:56,090 --> 00:24:57,530
I will shoot with the 50 millimeter 1
701
00:24:57,530 --> 00:25:00,090
.2. This is the lens I primarily use
702
00:25:00,090 --> 00:25:01,590
when she's getting dressed.
703
00:25:02,250 --> 00:25:04,910
Again, it's about carefully positioning yourself to crop
704
00:25:04,910 --> 00:25:06,890
out things that are undesirable elements in the
705
00:25:06,890 --> 00:25:07,130
room.
706
00:25:07,630 --> 00:25:09,710
Shooting with the 35 has a tendency of
707
00:25:09,710 --> 00:25:11,350
getting a lot more of the unmade bed,
708
00:25:11,590 --> 00:25:13,170
the shoes on the floor, things of that
709
00:25:13,170 --> 00:25:15,670
nature, so I'm definitely sticking in that 50
710
00:25:15,670 --> 00:25:16,910
to 85 range.
711
00:25:17,790 --> 00:25:20,050
Lastly, the thing that comes with me is
712
00:25:20,050 --> 00:25:22,150
the 100 millimeter macro IS.
713
00:25:22,150 --> 00:25:24,570
I request that the bride has her wedding
714
00:25:24,570 --> 00:25:27,530
rings, her band, her wedding ring, and his
715
00:25:27,530 --> 00:25:29,690
ring there in the room when I arrive.
716
00:25:30,110 --> 00:25:32,250
Because I will know, I'm being strategic about
717
00:25:32,250 --> 00:25:35,230
the lenses that I'm carrying, is that I
718
00:25:35,230 --> 00:25:36,610
wanna shoot the wedding ring at the beginning
719
00:25:36,610 --> 00:25:38,710
of the day and then be done with
720
00:25:38,710 --> 00:25:38,990
that.
721
00:25:40,190 --> 00:25:42,830
So, I wanna move now to what I
722
00:25:42,830 --> 00:25:44,450
use to shoot the ceremony.
723
00:25:45,110 --> 00:25:47,650
The ceremony lenses that I take.
724
00:25:47,830 --> 00:25:50,570
Now, I have mentioned in a previous lesson
725
00:25:50,570 --> 00:25:52,830
that we arrive to the ceremony about 30
726
00:25:52,830 --> 00:25:53,730
minutes in advance.
727
00:25:54,050 --> 00:25:56,650
So, people often ask, well, where is this
728
00:25:56,650 --> 00:25:58,310
bag and when are you carrying this bag?
729
00:25:58,650 --> 00:26:01,990
During prep, when we arrive to the venue,
730
00:26:02,330 --> 00:26:04,630
we unload our bag, I take the lenses
731
00:26:04,630 --> 00:26:07,230
that I need, the 50, the 85, the
732
00:26:07,230 --> 00:26:08,930
35, and the 100.
733
00:26:09,250 --> 00:26:12,010
I put three lenses in my bag and
734
00:26:12,010 --> 00:26:12,830
one in my camera.
735
00:26:13,810 --> 00:26:16,170
JD will then take this bag and his
736
00:26:16,170 --> 00:26:17,710
lenses to the groom suite.
737
00:26:18,130 --> 00:26:19,870
He will leave the bag in a corner
738
00:26:19,870 --> 00:26:21,110
of the room so that it's not in
739
00:26:21,110 --> 00:26:21,830
anybody's way.
740
00:26:22,250 --> 00:26:24,010
Then, when it's time to leave, he gets
741
00:26:24,010 --> 00:26:26,170
this bag and his side bag and we
742
00:26:26,170 --> 00:26:27,230
meet at the ceremony.
743
00:26:28,090 --> 00:26:30,130
When we are at the ceremony, there are
744
00:26:30,130 --> 00:26:32,990
usually some sort of amplification system by way
745
00:26:32,990 --> 00:26:34,450
of a band or a DJ.
746
00:26:34,870 --> 00:26:37,030
We do not wanna leave this bag exposed
747
00:26:37,030 --> 00:26:38,450
in any way, shape, or form, so we
748
00:26:38,450 --> 00:26:41,630
introduce ourselves to whoever is by the amplification
749
00:26:41,630 --> 00:26:43,890
system because they're not gonna leave their amplification
750
00:26:43,890 --> 00:26:44,470
system alone.
751
00:26:44,730 --> 00:26:46,190
That system is more expensive than our camera
752
00:26:46,190 --> 00:26:46,390
gear.
753
00:26:46,610 --> 00:26:47,710
So, we're in good hands if we could
754
00:26:47,710 --> 00:26:50,790
slip our bag underneath the table and that's
755
00:26:50,790 --> 00:26:52,050
usually what happens because they don't have an
756
00:26:52,050 --> 00:26:52,950
exposed table like this.
757
00:26:53,010 --> 00:26:54,430
We usually have a tablecloth over it.
758
00:26:54,730 --> 00:26:56,830
We slip our bag underneath and we're always
759
00:26:56,830 --> 00:26:58,710
within viewing distance of where our bag is
760
00:26:58,710 --> 00:26:59,770
at the time, but we just don't want
761
00:26:59,770 --> 00:27:01,670
it out for people to actually see.
762
00:27:02,370 --> 00:27:05,790
So, the lens that I'm usually shooting a
763
00:27:05,790 --> 00:27:07,670
wide shot for the ceremony is not the
764
00:27:07,670 --> 00:27:09,090
24, it's the 35.
765
00:27:09,790 --> 00:27:12,230
I will use the 50 millimeter 1.2.
766
00:27:12,310 --> 00:27:14,430
That is what I'll flip to at various
767
00:27:14,430 --> 00:27:17,150
points of the ceremony, but the lens I
768
00:27:17,150 --> 00:27:18,930
will use the most will be the 70
769
00:27:18,930 --> 00:27:19,590
to 200.
770
00:27:19,790 --> 00:27:21,410
That is what I shoot when the people
771
00:27:21,410 --> 00:27:23,870
are walking down the aisle to me, unless
772
00:27:23,870 --> 00:27:24,790
we have a really short aisle.
773
00:27:24,830 --> 00:27:25,970
If we have a really short aisle, I
774
00:27:25,970 --> 00:27:29,170
might flip to the 24 to 70, but
775
00:27:29,170 --> 00:27:30,610
that's a decision that I make a day
776
00:27:30,610 --> 00:27:31,990
of once I know how many guests are
777
00:27:31,990 --> 00:27:32,710
going to be there.
778
00:27:33,870 --> 00:27:35,490
JD is at the opposite end of the
779
00:27:35,490 --> 00:27:37,810
aisle shooting with either the 70 to 200
780
00:27:37,810 --> 00:27:41,350
or the 24 to 70 at that time.
781
00:27:43,010 --> 00:27:45,090
Now, the reason why I wanna focus on
782
00:27:45,090 --> 00:27:46,510
the 70 to 200 is I don't want
783
00:27:46,510 --> 00:27:47,510
guests noticing me.
784
00:27:47,810 --> 00:27:49,030
I don't wanna have to be walking in
785
00:27:49,030 --> 00:27:49,270
and out.
786
00:27:49,490 --> 00:27:50,470
Yes, I will.
787
00:27:50,550 --> 00:27:52,890
I will walk down the middle aisle once,
788
00:27:52,990 --> 00:27:54,670
and that's usually for the exchanging of rings,
789
00:27:55,030 --> 00:27:56,850
but then I usually stay behind in the
790
00:27:56,850 --> 00:27:58,590
wings or towards the back.
791
00:27:59,830 --> 00:28:01,450
Now, we're gonna move into portraits.
792
00:28:02,010 --> 00:28:04,530
Portraits are broken up into family portraits, bridal
793
00:28:04,530 --> 00:28:06,870
party portraits, and bride and groom portraits.
794
00:28:07,450 --> 00:28:11,150
Now, a family picture can range anywhere quickly
795
00:28:11,150 --> 00:28:13,230
from 35 people to four people, so I
796
00:28:13,230 --> 00:28:15,430
need to stay on my toes in that
797
00:28:15,430 --> 00:28:15,850
regard.
798
00:28:16,730 --> 00:28:19,630
When it comes to shooting the bride and
799
00:28:19,630 --> 00:28:21,550
groom, I use the same three lenses that
800
00:28:21,550 --> 00:28:22,970
I use on an engagement session.
801
00:28:23,850 --> 00:28:25,950
I call these my three amigos.
802
00:28:26,350 --> 00:28:27,390
This is what I use on the wedding
803
00:28:27,390 --> 00:28:28,070
day for bride and groom.
804
00:28:28,390 --> 00:28:29,570
This is what I use on an engagement
805
00:28:29,570 --> 00:28:29,870
session.
806
00:28:29,990 --> 00:28:31,490
50, 35, 85.
807
00:28:33,530 --> 00:28:37,350
Now, I will shoot most, if possible, bridal
808
00:28:37,350 --> 00:28:38,610
party portraits with a 35.
809
00:28:39,290 --> 00:28:41,170
That's kind of just definitely where I go,
810
00:28:41,170 --> 00:28:43,570
and if I need more width, I simply
811
00:28:43,570 --> 00:28:44,610
walk back.
812
00:28:45,230 --> 00:28:46,550
So instead of a zoom lens, I use
813
00:28:46,550 --> 00:28:47,510
my legs as a result.
814
00:28:47,990 --> 00:28:50,610
Now, the 24 millimeter, I do carry on
815
00:28:50,610 --> 00:28:53,190
me in case the bridal party is just
816
00:28:53,190 --> 00:28:54,890
so big and we're in an area that
817
00:28:54,890 --> 00:28:55,910
I cannot walk back.
818
00:28:56,230 --> 00:28:57,170
So in the back of my mind, because
819
00:28:57,170 --> 00:28:59,170
I know Samantha and Taylor have 12 bridesmaids
820
00:28:59,170 --> 00:29:01,430
and 12 groomsmen, I will absolutely keep the
821
00:29:01,430 --> 00:29:03,950
24 because I don't know what lighting situations
822
00:29:03,950 --> 00:29:06,010
or spatial conditions I will be working with.
823
00:29:06,550 --> 00:29:08,830
The 50 millimeter, I will keep on hand
824
00:29:08,830 --> 00:29:10,150
because I swap out my lenses.
825
00:29:10,150 --> 00:29:11,990
If I want to shoot a family photo
826
00:29:11,990 --> 00:29:13,410
and then I quickly wanna shoot the bride
827
00:29:13,410 --> 00:29:14,810
and her mom, I'm not gonna shoot it
828
00:29:14,810 --> 00:29:16,270
with the 35 because I think, for my
829
00:29:16,270 --> 00:29:17,330
preference, it's a little too wide.
830
00:29:17,490 --> 00:29:20,110
I'll simply swap out my lens and shoot
831
00:29:20,110 --> 00:29:20,590
it with the 50.
832
00:29:21,770 --> 00:29:23,430
Lastly, the 85 millimeter.
833
00:29:23,710 --> 00:29:25,150
I am not using this so much for
834
00:29:25,150 --> 00:29:27,530
portraits during this time, but JD is.
835
00:29:27,810 --> 00:29:31,170
We have kind of, we have creafted, created
836
00:29:31,170 --> 00:29:34,690
and crafted a system that he knows what
837
00:29:34,690 --> 00:29:35,870
I'm gonna do when I'm gonna do it.
838
00:29:35,910 --> 00:29:38,190
So I'm positioning the family, and JD's in
839
00:29:38,190 --> 00:29:40,470
the wings shooting a side angle.
840
00:29:40,830 --> 00:29:42,990
So just in case the bride's like, dad,
841
00:29:43,630 --> 00:29:45,070
he's there waiting for it.
842
00:29:45,390 --> 00:29:48,110
And oftentimes, what happens for my more like,
843
00:29:48,170 --> 00:29:51,930
kind of like, creative clients, what they wanna
844
00:29:51,930 --> 00:29:54,090
use instead of the traditional family portrait of
845
00:29:54,090 --> 00:29:55,450
all of them on their Christmas card, what
846
00:29:55,450 --> 00:29:57,010
they'll use is the side angle of them
847
00:29:57,010 --> 00:29:57,890
just kind of like smiling.
848
00:29:58,030 --> 00:29:59,890
They're looking at camera one, but the angle
849
00:29:59,890 --> 00:30:00,690
is from camera two.
850
00:30:00,910 --> 00:30:01,770
That's the one they prefer.
851
00:30:01,870 --> 00:30:03,670
And actually, that's what editors really like the
852
00:30:03,670 --> 00:30:03,850
most.
853
00:30:03,930 --> 00:30:06,050
They won't post a traditional family portrait, but
854
00:30:06,050 --> 00:30:07,530
they might post it from the side, especially
855
00:30:07,530 --> 00:30:08,750
if everybody's kind of like leaning in and
856
00:30:08,750 --> 00:30:09,050
laughing.
857
00:30:09,290 --> 00:30:10,190
That one really works.
858
00:30:10,270 --> 00:30:12,170
So he's using the 85 tremendously during that
859
00:30:12,170 --> 00:30:12,450
point.
860
00:30:13,810 --> 00:30:15,850
Now we're gonna go into reception.
861
00:30:16,050 --> 00:30:17,230
This is the last part of the day.
862
00:30:18,010 --> 00:30:20,750
Now, I will shoot with prime lenses because
863
00:30:20,750 --> 00:30:24,130
I'm afforded that luxury of shooting wide open
864
00:30:24,130 --> 00:30:25,830
in dark spaces, and it gives me so
865
00:30:25,830 --> 00:30:26,790
much latitude.
866
00:30:27,030 --> 00:30:28,010
I absolutely love it.
867
00:30:28,490 --> 00:30:31,210
Now, you will see through my portfolio, now
868
00:30:31,210 --> 00:30:33,070
for those who are downloading the course, you
869
00:30:33,070 --> 00:30:34,630
are going to see a full gallery from
870
00:30:34,630 --> 00:30:35,170
the Knot Wedding.
871
00:30:35,170 --> 00:30:37,510
What the client gets outside of her prep
872
00:30:37,510 --> 00:30:39,490
photos, the prep photos will be carefully curated
873
00:30:39,490 --> 00:30:41,010
because I know that Samantha will be dressing.
874
00:30:41,470 --> 00:30:43,610
Anything before or after her dressing will be
875
00:30:43,610 --> 00:30:44,330
included in the gallery.
876
00:30:44,650 --> 00:30:46,210
She will have her own separate gallery for
877
00:30:46,210 --> 00:30:46,490
that.
878
00:30:46,910 --> 00:30:48,610
So what you're going to see in the
879
00:30:48,610 --> 00:30:50,490
gallery when you see it after the wedding,
880
00:30:50,530 --> 00:30:51,910
you're going to see a mix.
881
00:30:52,050 --> 00:30:53,790
You're gonna see ambient lit photos.
882
00:30:53,970 --> 00:30:54,790
You will see flash.
883
00:30:55,010 --> 00:30:55,930
You will see video light.
884
00:30:56,030 --> 00:30:58,530
You will see off camera, depending on the
885
00:30:58,530 --> 00:30:58,910
needs.
886
00:30:59,990 --> 00:31:01,970
But because the wedding is during the day,
887
00:31:02,830 --> 00:31:04,850
I may not have to use flash at
888
00:31:04,850 --> 00:31:05,050
all.
889
00:31:05,190 --> 00:31:06,690
So I'm just gonna kind of prepare you
890
00:31:06,690 --> 00:31:08,650
for, well, actually, I'm quite certain.
891
00:31:08,910 --> 00:31:09,710
Who am I kidding?
892
00:31:09,990 --> 00:31:11,030
Like the reception's at one o'clock in
893
00:31:11,030 --> 00:31:11,350
the afternoon.
894
00:31:11,570 --> 00:31:13,670
If I'm using flash, like it's definitely not
895
00:31:13,670 --> 00:31:14,670
my style whatsoever.
896
00:31:15,030 --> 00:31:15,930
But I kind of want to let you
897
00:31:15,930 --> 00:31:17,730
know if you happen to come across another,
898
00:31:17,830 --> 00:31:21,250
I post a wedding day shot list online
899
00:31:21,250 --> 00:31:23,210
through the store, and you can actually view
900
00:31:23,210 --> 00:31:26,210
a gallery, a wedding gallery of mine also,
901
00:31:26,350 --> 00:31:26,990
and it'll walk you through.
902
00:31:27,050 --> 00:31:29,610
So you can see the variation of light
903
00:31:29,610 --> 00:31:30,390
sources that I have.
904
00:31:30,390 --> 00:31:32,390
During this time, I am shooting with the
905
00:31:32,390 --> 00:31:34,950
35 1.4. I usually use this when
906
00:31:34,950 --> 00:31:37,050
they're walking in for the grand entrance, because
907
00:31:37,050 --> 00:31:38,270
I kind of want to set the tone
908
00:31:38,270 --> 00:31:39,810
without it being too wide.
909
00:31:40,130 --> 00:31:42,030
And sometimes with the 50 millimeter, I only
910
00:31:42,030 --> 00:31:43,350
get to walk within one or two steps
911
00:31:43,350 --> 00:31:44,850
before they've walked out of my frame.
912
00:31:45,050 --> 00:31:46,630
The 35 gives me a range of four
913
00:31:46,630 --> 00:31:47,410
to five steps.
914
00:31:48,630 --> 00:31:50,790
The 50 millimeter, I keep this in my
915
00:31:50,790 --> 00:31:52,230
bag in case there are guests who are
916
00:31:52,230 --> 00:31:53,470
like, can you take a photo of us?
917
00:31:53,610 --> 00:31:55,390
I could use the 35, but you know,
918
00:31:55,430 --> 00:31:56,810
if I want a decent photo, I would
919
00:31:56,810 --> 00:31:58,570
definitely defer to the 50.
920
00:31:59,230 --> 00:32:02,330
The 85 millimeter is kept in my bag
921
00:32:02,330 --> 00:32:04,610
because the 85 is what I use exclusively
922
00:32:04,610 --> 00:32:05,390
for speeches.
923
00:32:05,890 --> 00:32:09,390
The 85 1.2 is so amazing at
924
00:32:09,390 --> 00:32:12,070
getting light in really dark situations, and because
925
00:32:12,070 --> 00:32:15,210
my subjects are listening, and they're sitting, and
926
00:32:15,210 --> 00:32:17,550
they're not moving much, once I dial in
927
00:32:17,550 --> 00:32:19,810
that focus, it's really, really, really great.
928
00:32:19,910 --> 00:32:22,510
I can leverage the ambient light so well
929
00:32:22,510 --> 00:32:23,690
that I don't have to keep on firing,
930
00:32:24,070 --> 00:32:26,950
poof, poof, poof, during these really emotional speeches.
931
00:32:26,950 --> 00:32:28,570
So you'll see me also leverage that in
932
00:32:28,570 --> 00:32:29,150
that capacity.
933
00:32:29,630 --> 00:32:31,290
And like I mentioned before, I use the
934
00:32:31,290 --> 00:32:34,590
24 for dancing photos.
935
00:32:34,710 --> 00:32:36,150
That's kind of like my go-to lens.
936
00:32:36,250 --> 00:32:38,630
The minute the dancing starts, all my gear
937
00:32:38,630 --> 00:32:40,530
is put away with the exception of the
938
00:32:40,530 --> 00:32:42,950
24 that's on my camera, and the 50
939
00:32:42,950 --> 00:32:44,450
in case I need it at any other
940
00:32:44,450 --> 00:32:45,090
point in time.
941
00:32:46,330 --> 00:32:49,090
So we're gonna get into the last part
942
00:32:49,090 --> 00:32:50,890
of this, which is just lenses, odds, and
943
00:32:50,890 --> 00:32:51,130
ends.
944
00:32:51,190 --> 00:32:52,350
These are a few things that I've gotten
945
00:32:52,350 --> 00:32:53,470
asked over the years.
946
00:32:53,970 --> 00:32:57,110
People ask if I shoot with two bodies,
947
00:32:57,310 --> 00:32:58,270
and the answer is no.
948
00:32:58,450 --> 00:33:00,390
I shoot with one body, and I swap
949
00:33:00,390 --> 00:33:02,050
out my lenses rather quickly.
950
00:33:03,470 --> 00:33:05,890
I think that for streamlining my workflow, shooting
951
00:33:05,890 --> 00:33:07,790
with one camera has been so helpful for
952
00:33:07,790 --> 00:33:07,990
me.
953
00:33:08,330 --> 00:33:09,910
I do have a spare, and I keep
954
00:33:09,910 --> 00:33:10,730
the spare nearby.
955
00:33:11,110 --> 00:33:12,550
I keep the spare camera on engagement shoot
956
00:33:12,550 --> 00:33:13,310
in my car.
957
00:33:14,550 --> 00:33:17,090
But you'll see how I shoot, you'll see
958
00:33:17,090 --> 00:33:19,590
me how I swap out my lenses rather
959
00:33:19,590 --> 00:33:21,750
quickly on shoots during the pre-shoots.
960
00:33:22,410 --> 00:33:25,390
And people wanna know why I don't shoot
961
00:33:25,390 --> 00:33:26,030
with a strap.
962
00:33:26,910 --> 00:33:28,310
It's a personal preference.
963
00:33:28,770 --> 00:33:31,950
When I first started, everybody in my life,
964
00:33:32,130 --> 00:33:34,010
not in yours, but when I would go
965
00:33:34,010 --> 00:33:36,850
to Disneyland, everybody had a strap on their
966
00:33:36,850 --> 00:33:37,830
camera, but they're nice cameras.
967
00:33:38,050 --> 00:33:39,430
When I would go to a ballpark, everybody
968
00:33:39,430 --> 00:33:40,450
had a strap on their camera.
969
00:33:41,150 --> 00:33:42,970
And then when I started seeing fashion photographers
970
00:33:42,970 --> 00:33:44,570
didn't have a strap on their camera, I
971
00:33:44,570 --> 00:33:46,570
was like, I'm going strapless.
972
00:33:47,170 --> 00:33:49,070
And it was just a personal decision.
973
00:33:49,430 --> 00:33:50,690
People say, well, aren't you worried that you're
974
00:33:50,690 --> 00:33:51,230
gonna drop it?
975
00:33:51,230 --> 00:33:53,350
And I was like, I see photographers with
976
00:33:53,350 --> 00:33:55,870
their straps dangling all the time.
977
00:33:55,930 --> 00:33:57,650
And I'm like, well, aren't you afraid of
978
00:33:57,650 --> 00:33:58,050
dropping it?
979
00:33:58,090 --> 00:33:59,310
I mean, if you have a strap and
980
00:33:59,310 --> 00:34:00,810
you use it, then fine, that's fantastic, but
981
00:34:00,810 --> 00:34:01,990
it's not a necessity.
982
00:34:02,250 --> 00:34:03,950
And I personally feel like I view my
983
00:34:03,950 --> 00:34:05,610
cameras almost like a gun, right?
984
00:34:05,670 --> 00:34:07,210
I wanna be in shooting, I wanna be
985
00:34:07,210 --> 00:34:07,770
shooting ready.
986
00:34:08,110 --> 00:34:09,389
I don't wanna rest around my neck and
987
00:34:09,389 --> 00:34:10,510
then forget, oh, am I at a 2
988
00:34:10,510 --> 00:34:10,790
.8?
989
00:34:10,810 --> 00:34:11,929
I really should be at a 1.2.
990
00:34:12,130 --> 00:34:14,570
I feel like my camera's now appendage.
991
00:34:14,929 --> 00:34:16,530
I know where I am, where I can
992
00:34:16,530 --> 00:34:18,310
dial in at all times, and I want
993
00:34:18,310 --> 00:34:19,989
to be careful of how I'm using it.
994
00:34:21,330 --> 00:34:24,010
Also is to bear in mind when you
995
00:34:24,010 --> 00:34:26,070
do take a rather large set of gear
996
00:34:26,070 --> 00:34:28,830
to get insurance for your gear.
997
00:34:29,330 --> 00:34:31,710
I've heard so many awful stories of photographers
998
00:34:31,710 --> 00:34:33,370
having their gear stolen at a wedding.
999
00:34:33,550 --> 00:34:34,790
It is part and parcel of what we
1000
00:34:34,790 --> 00:34:35,110
do.
1001
00:34:35,610 --> 00:34:37,590
But get insurance and then hide the bag.
1002
00:34:37,690 --> 00:34:39,710
When we get to the reception, the DJ
1003
00:34:39,710 --> 00:34:41,530
or the band also has a sound booth.
1004
00:34:41,909 --> 00:34:43,150
We make sure that they're hydrated.
1005
00:34:43,330 --> 00:34:44,570
JD is so good at being, hey, how's
1006
00:34:44,570 --> 00:34:44,850
it going?
1007
00:34:44,949 --> 00:34:46,310
Great, awesome, my name's Judy, I'm the photographer.
1008
00:34:46,429 --> 00:34:47,370
Can I get you something to drink?
1009
00:34:47,790 --> 00:34:48,770
His lead-in is, can I get you
1010
00:34:48,770 --> 00:34:49,150
something to drink?
1011
00:34:49,190 --> 00:34:50,570
And you're just like, no, or hey, some
1012
00:34:50,570 --> 00:34:50,830
water.
1013
00:34:50,830 --> 00:34:51,650
JD will go get the water.
1014
00:34:51,949 --> 00:34:52,750
He's like, I'm the photographer.
1015
00:34:52,889 --> 00:34:54,070
Would you mind if I kept my bag
1016
00:34:54,070 --> 00:34:54,449
right here?
1017
00:34:54,630 --> 00:34:55,949
They always let us.
1018
00:34:56,310 --> 00:34:57,930
And then we know that somebody will be
1019
00:34:57,930 --> 00:34:59,470
by it 100% of the time.
1020
00:34:59,690 --> 00:35:00,670
We never leave our gear.
1021
00:35:00,750 --> 00:35:03,630
If the DJ is by a door, which
1022
00:35:03,630 --> 00:35:04,950
they're usually not, but if he happens to
1023
00:35:04,950 --> 00:35:06,190
be by a door, then we will put
1024
00:35:06,190 --> 00:35:08,070
our stuff underneath the cake table on the
1025
00:35:08,070 --> 00:35:08,870
opposite side of the room.
1026
00:35:09,010 --> 00:35:10,550
Because what we hear often is that photographers
1027
00:35:10,550 --> 00:35:12,250
who leave their stuff by doors, people who
1028
00:35:12,250 --> 00:35:13,510
aren't a part of the wedding but pass
1029
00:35:13,510 --> 00:35:14,850
by the room, they'll see a bag and
1030
00:35:14,850 --> 00:35:16,990
just snatch it because it looks like a
1031
00:35:16,990 --> 00:35:17,750
large bag at a wedding.
1032
00:35:19,170 --> 00:35:21,930
Having said that, on that happy note, are
1033
00:35:21,930 --> 00:35:23,610
there any questions in regards to view?
1034
00:35:23,710 --> 00:35:25,290
Yes, we'll pass the mic right back there.
1035
00:35:25,870 --> 00:35:26,110
Hi.
1036
00:35:26,330 --> 00:35:26,630
Hi.
1037
00:35:26,990 --> 00:35:29,730
Do you use ND filters or what type
1038
00:35:29,730 --> 00:35:30,070
of filters?
1039
00:35:30,170 --> 00:35:31,570
I think I see filters on all of
1040
00:35:31,570 --> 00:35:32,330
your lenses up there.
1041
00:35:32,810 --> 00:35:34,450
What do you use and why do you
1042
00:35:34,450 --> 00:35:36,090
use them and what brands do you use
1043
00:35:36,090 --> 00:35:37,070
and everything filter?
1044
00:35:37,490 --> 00:35:39,550
People give me a really hard time.
1045
00:35:39,650 --> 00:35:41,050
Like I buy a really nice lens and
1046
00:35:41,050 --> 00:35:43,270
then I put like a cheap UV filter.
1047
00:35:43,610 --> 00:35:45,070
This filter was like 40 bucks.
1048
00:35:45,250 --> 00:35:46,950
It's just to protect the lens.
1049
00:35:46,950 --> 00:35:48,410
But if you can believe it, I don't
1050
00:35:48,410 --> 00:35:50,950
have one on my 35 because I couldn't,
1051
00:35:50,950 --> 00:35:52,650
I found like it was, for some reason
1052
00:35:52,650 --> 00:35:53,810
I couldn't focus it the way that I
1053
00:35:53,810 --> 00:35:53,990
wanted.
1054
00:35:54,090 --> 00:35:55,630
And maybe it was just me being me
1055
00:35:55,630 --> 00:35:56,730
but I'm like, I'm taking this thing off.
1056
00:35:56,910 --> 00:35:58,310
But you'll see that all my other lenses,
1057
00:35:58,990 --> 00:36:00,290
with the exception, I don't have it in
1058
00:36:00,290 --> 00:36:01,710
the macro either because I felt like I
1059
00:36:01,710 --> 00:36:03,050
couldn't get the type of focusing that I
1060
00:36:03,050 --> 00:36:03,250
wanted.
1061
00:36:03,510 --> 00:36:05,650
Again, probably just me, but I don't bring
1062
00:36:05,650 --> 00:36:07,630
this lens out enough for me to feel
1063
00:36:07,630 --> 00:36:09,670
like I'm gonna risk dropping it.
1064
00:36:10,870 --> 00:36:14,430
I use B and W filters but I
1065
00:36:14,430 --> 00:36:17,070
don't have, I'm not gonna fight for how
1066
00:36:17,070 --> 00:36:17,890
great they are.
1067
00:36:18,130 --> 00:36:19,530
I know they're German made, so I'm sure
1068
00:36:19,530 --> 00:36:20,330
they're very efficient.
1069
00:36:20,790 --> 00:36:22,270
Other than that, that's it.
1070
00:36:22,550 --> 00:36:23,010
Thank you.
1071
00:36:23,130 --> 00:36:23,490
You're welcome.
1072
00:36:25,330 --> 00:36:28,590
I know that you seem to prefer mostly
1073
00:36:28,590 --> 00:36:29,770
shooting available light.
1074
00:36:30,250 --> 00:36:30,450
Yes.
1075
00:36:30,490 --> 00:36:33,430
And you've obviously dealt with some challenging lighting
1076
00:36:33,430 --> 00:36:34,050
situations.
1077
00:36:34,550 --> 00:36:36,150
Have you turned to filters to deal with
1078
00:36:36,150 --> 00:36:36,490
that ever?
1079
00:36:36,570 --> 00:36:37,870
Like a variable density filter?
1080
00:36:38,310 --> 00:36:38,890
I have not.
1081
00:36:40,210 --> 00:36:43,490
I know, I think that for me, I
1082
00:36:43,490 --> 00:36:45,950
have streamlined my process in such a way
1083
00:36:45,950 --> 00:36:48,970
that I value simplicity and ease over trying
1084
00:36:48,970 --> 00:36:51,110
to navigate what I should be doing and
1085
00:36:51,110 --> 00:36:51,390
when.
1086
00:36:51,770 --> 00:36:54,870
So if I am in a difficult lighting
1087
00:36:54,870 --> 00:36:56,630
situation, say like bright light, which is gonna
1088
00:36:56,630 --> 00:36:58,010
be a great segue for a future lesson
1089
00:36:58,010 --> 00:36:59,470
because we're gonna talk about how I shoot
1090
00:36:59,470 --> 00:37:01,210
in bright light, I do not change any
1091
00:37:01,210 --> 00:37:04,190
filters, I do not rely on flash, reflectors,
1092
00:37:04,550 --> 00:37:05,090
fill light.
1093
00:37:05,270 --> 00:37:06,490
I really just try to find what I
1094
00:37:06,490 --> 00:37:09,330
call natural reflectors and show visually how that
1095
00:37:09,330 --> 00:37:10,650
really changes the dynamic of the photo.
1096
00:37:11,950 --> 00:37:14,090
I was just wondering, I know you don't
1097
00:37:14,090 --> 00:37:15,870
use flash a lot, but I know you
1098
00:37:15,870 --> 00:37:16,350
have.
1099
00:37:16,870 --> 00:37:19,630
In certain lighting circumstances, the ambient lighting can
1100
00:37:19,630 --> 00:37:22,950
be, the colors cause like really nasty color
1101
00:37:22,950 --> 00:37:23,390
casts.
1102
00:37:24,030 --> 00:37:25,670
How do you deal with that and tackle
1103
00:37:25,670 --> 00:37:25,870
that?
1104
00:37:25,930 --> 00:37:28,170
Because I find in low lighting circumstances, especially
1105
00:37:28,170 --> 00:37:30,630
when you bump up the ISO and you
1106
00:37:30,630 --> 00:37:32,510
have to work with the color cast, when
1107
00:37:32,510 --> 00:37:33,910
you edit them, even the colors end up
1108
00:37:33,910 --> 00:37:34,810
all funny and distorted.
1109
00:37:35,230 --> 00:37:36,570
Are you talking about a color cast from
1110
00:37:36,570 --> 00:37:38,310
uplighting or just color cast from like the
1111
00:37:38,310 --> 00:37:39,250
- From the ambient lighting.
1112
00:37:39,350 --> 00:37:41,030
If it's like, let's say fluorescent light, or
1113
00:37:41,030 --> 00:37:42,690
something like that, that just gives you really
1114
00:37:42,690 --> 00:37:44,110
green or orange tones?
1115
00:37:44,530 --> 00:37:46,910
I shoot auto white balance 100% of
1116
00:37:46,910 --> 00:37:48,790
the day because we have technology that really,
1117
00:37:48,930 --> 00:37:50,130
really, really helps us in that regard in
1118
00:37:50,130 --> 00:37:50,410
post.
1119
00:37:50,710 --> 00:37:53,410
So in Lightroom, all of that is addressed.
1120
00:37:53,730 --> 00:37:55,410
I can sit there and like try to
1121
00:37:55,410 --> 00:37:57,110
figure out what Kelvin I should be at,
1122
00:37:57,330 --> 00:37:59,030
but either way, it's going to be addressed
1123
00:37:59,030 --> 00:37:59,470
in post.
1124
00:37:59,590 --> 00:38:00,330
And I know that there are gonna be
1125
00:38:00,330 --> 00:38:02,330
other people who are a lot more concerned
1126
00:38:02,330 --> 00:38:03,810
about color cast and tonality.
1127
00:38:04,330 --> 00:38:06,110
I seem to attract a client who really
1128
00:38:06,110 --> 00:38:08,050
wants the idea and experience.
1129
00:38:08,330 --> 00:38:09,950
And so if the picture is pleasant enough,
1130
00:38:09,950 --> 00:38:12,550
now, if there are pink lights uplighting, it
1131
00:38:12,550 --> 00:38:15,050
has a tendency to cast pink skin tones
1132
00:38:15,050 --> 00:38:15,950
on my subjects.
1133
00:38:16,290 --> 00:38:17,510
But the minute that you get the dropper
1134
00:38:17,510 --> 00:38:19,310
in Lightroom and you find out what the
1135
00:38:19,310 --> 00:38:21,630
white is in that room, every skin seems
1136
00:38:21,630 --> 00:38:23,370
to look very close to skin in such
1137
00:38:23,370 --> 00:38:24,350
a way that I'm not worried.
1138
00:38:24,590 --> 00:38:26,310
Now, there are times where they have a
1139
00:38:26,310 --> 00:38:26,830
mix of lights.
1140
00:38:26,970 --> 00:38:28,490
There's a green light, and this is like
1141
00:38:28,490 --> 00:38:29,890
the most irksome.
1142
00:38:29,970 --> 00:38:30,250
The dance floor.
1143
00:38:30,250 --> 00:38:31,690
When you have a DJ or a light
1144
00:38:31,690 --> 00:38:33,110
company, they're like, this is what all the
1145
00:38:33,110 --> 00:38:33,790
clubs are doing.
1146
00:38:33,970 --> 00:38:35,050
And you're like, oh God.
1147
00:38:35,430 --> 00:38:36,850
And then there are times where I have
1148
00:38:36,850 --> 00:38:40,330
to say, if you look pink and the
1149
00:38:40,330 --> 00:38:42,570
whole picture is pink, and I have done
1150
00:38:42,570 --> 00:38:44,910
my best, that that is what you hired
1151
00:38:44,910 --> 00:38:45,690
that company to do.
1152
00:38:46,150 --> 00:38:47,390
I'm not gonna sit here and try to
1153
00:38:47,390 --> 00:38:50,890
get it down to a science because that
1154
00:38:50,890 --> 00:38:51,690
was what the room looked like.
1155
00:38:51,770 --> 00:38:53,110
The room was pink in that moment.
1156
00:38:53,390 --> 00:38:55,950
Now, 98% of the photos, 99%
1157
00:38:55,950 --> 00:38:57,670
of the photos all look like skin tones,
1158
00:38:57,770 --> 00:38:59,310
but then there's every so often where there's
1159
00:38:59,310 --> 00:39:00,650
dancing photos and you're like, I have done
1160
00:39:00,650 --> 00:39:02,590
my best, but this is how the room
1161
00:39:02,590 --> 00:39:02,970
looked.
1162
00:39:03,290 --> 00:39:04,690
And I've never had a client come back
1163
00:39:04,690 --> 00:39:06,450
and be like, why is there a blue
1164
00:39:06,450 --> 00:39:08,310
hint to my dress ever?
1165
00:39:08,770 --> 00:39:08,990
Cool.
1166
00:39:09,210 --> 00:39:09,510
Thank you.
1167
00:39:10,030 --> 00:39:11,330
And somebody else got a...
1168
00:39:11,330 --> 00:39:11,470
Yeah.
1169
00:39:11,470 --> 00:39:12,850
I was just gonna ask, how often do
1170
00:39:12,850 --> 00:39:15,490
you get your gear serviced and how often
1171
00:39:15,490 --> 00:39:16,930
do you buy new memory cards?
1172
00:39:17,130 --> 00:39:18,290
That is fantastic.
1173
00:39:18,610 --> 00:39:21,930
I am a Canon Protection Services, CPS member.
1174
00:39:22,530 --> 00:39:25,150
I'm very fortunate in that Canon is based.
1175
00:39:25,390 --> 00:39:27,510
They have a few facilities.
1176
00:39:27,710 --> 00:39:28,830
One of them happened to be in Orange
1177
00:39:28,830 --> 00:39:29,170
County.
1178
00:39:29,430 --> 00:39:31,430
So I get my gear serviced three to
1179
00:39:31,430 --> 00:39:32,370
four times a year.
1180
00:39:32,910 --> 00:39:34,970
I take them to clean my sensors because
1181
00:39:34,970 --> 00:39:36,930
it is local, but the CPS program is
1182
00:39:36,930 --> 00:39:39,630
so amazing in that I needed to get
1183
00:39:39,630 --> 00:39:41,450
my 50 kind of calibrated.
1184
00:39:41,570 --> 00:39:43,850
Like this little thing is dialed in all
1185
00:39:43,850 --> 00:39:44,250
the time.
1186
00:39:44,330 --> 00:39:44,890
I love it.
1187
00:39:45,210 --> 00:39:47,190
But about a month ago, I started noticing
1188
00:39:47,190 --> 00:39:47,650
something.
1189
00:39:47,870 --> 00:39:49,510
It's not talking to me the way that
1190
00:39:49,510 --> 00:39:49,750
it does.
1191
00:39:49,810 --> 00:39:51,370
And yes, white lenses talk to me.
1192
00:39:51,670 --> 00:39:52,750
I was like, it's not talking to me
1193
00:39:52,750 --> 00:39:53,070
this way.
1194
00:39:53,330 --> 00:39:55,090
So JD took it in and because I'm
1195
00:39:55,090 --> 00:39:57,410
a platinum member for CPS, anybody can pay
1196
00:39:57,410 --> 00:39:58,070
to be a platinum member.
1197
00:39:58,190 --> 00:39:59,010
There's silver, gold and platinum.
1198
00:39:59,410 --> 00:40:01,830
They gave JD a 50 millimeter before he
1199
00:40:01,830 --> 00:40:03,210
walked out and we were able to shoot
1200
00:40:03,210 --> 00:40:03,970
a destination wedding.
1201
00:40:03,970 --> 00:40:06,570
The reason why I pay extra for it
1202
00:40:06,570 --> 00:40:07,770
is I never want there to be a
1203
00:40:07,770 --> 00:40:10,230
blip in any of my services in regards
1204
00:40:10,230 --> 00:40:10,950
to our gear.
1205
00:40:12,130 --> 00:40:15,270
So they get sensors cleaned about four times
1206
00:40:15,270 --> 00:40:15,630
a year.
1207
00:40:17,050 --> 00:40:18,670
Service only as needed.
1208
00:40:20,110 --> 00:40:22,710
And what was the last question?
1209
00:40:22,810 --> 00:40:25,050
The other question was just about your memory
1210
00:40:25,050 --> 00:40:25,330
cards.
1211
00:40:25,470 --> 00:40:26,790
Like how often do you buy new ones
1212
00:40:26,790 --> 00:40:27,870
and like dispose of them?
1213
00:40:27,890 --> 00:40:29,810
I buy new memory cards about every year
1214
00:40:29,810 --> 00:40:30,290
and a half.
1215
00:40:30,770 --> 00:40:32,110
I used to shoot.
1216
00:40:32,110 --> 00:40:35,110
Now because these file sizes are getting so
1217
00:40:35,110 --> 00:40:35,410
large.
1218
00:40:35,510 --> 00:40:38,130
Now Canon released the 5DS recently and I've
1219
00:40:38,130 --> 00:40:40,110
seen a couple of photographers on social media
1220
00:40:40,110 --> 00:40:41,530
like get sneak peeks and I'm just like,
1221
00:40:41,690 --> 00:40:43,010
oh, that's amazing.
1222
00:40:43,270 --> 00:40:45,570
I hear it's more of a studio camera,
1223
00:40:45,890 --> 00:40:47,430
as opposed to what we do, which is
1224
00:40:47,430 --> 00:40:48,310
a lot of outdoor stuff.
1225
00:40:48,470 --> 00:40:51,550
So I don't feel too tempted, but I
1226
00:40:51,550 --> 00:40:53,690
used to shoot with four gig cards, right?
1227
00:40:53,730 --> 00:40:55,910
This is during like the 20D days.
1228
00:40:56,070 --> 00:40:57,370
And then I kind of stayed with four
1229
00:40:57,370 --> 00:41:00,050
because I was so worried about losing, you
1230
00:41:00,050 --> 00:41:01,830
know, how this is gonna affect things.
1231
00:41:02,330 --> 00:41:05,030
And then I upgraded to eight gig.
1232
00:41:05,910 --> 00:41:07,690
And now I'm shooting with 16 gig.
1233
00:41:07,750 --> 00:41:08,570
And part of the reason why I'm shooting
1234
00:41:08,570 --> 00:41:11,890
with 16 gigs is because the Canon 5D
1235
00:41:11,890 --> 00:41:14,810
Mark III has a CF card slot and
1236
00:41:14,810 --> 00:41:15,470
an SD.
1237
00:41:16,010 --> 00:41:17,530
So I'm shooting with an SD.
1238
00:41:17,810 --> 00:41:20,050
So worst case scenario, worst case.
1239
00:41:20,130 --> 00:41:21,710
And on the SD card, I'm shooting large
1240
00:41:21,710 --> 00:41:22,150
JPEG.
1241
00:41:22,470 --> 00:41:24,450
It's just a backup, just a backup.
1242
00:41:24,690 --> 00:41:26,370
So a majority of my images, and I've
1243
00:41:26,370 --> 00:41:27,710
never had a problem where I had to
1244
00:41:27,710 --> 00:41:30,030
use the SD card, but a worst case
1245
00:41:30,030 --> 00:41:31,590
scenario, let's say a card gets corrupted.
1246
00:41:31,870 --> 00:41:33,730
At least I have the large JPEG files
1247
00:41:33,730 --> 00:41:35,070
so that I can turn something over.
1248
00:41:35,410 --> 00:41:36,650
And then if the client wanted to get
1249
00:41:36,650 --> 00:41:38,470
it printed at a 24 by 36, we
1250
00:41:38,470 --> 00:41:40,030
would have the conversation then.
1251
00:41:40,190 --> 00:41:42,030
I wouldn't be like, I lost some pictures
1252
00:41:42,030 --> 00:41:44,170
and now they're no longer at a 16
1253
00:41:44,170 --> 00:41:45,470
by 24, 300 DPI.
1254
00:41:45,630 --> 00:41:47,470
They're actually like, no, let's see what you
1255
00:41:47,470 --> 00:41:48,090
wanna do with the images.
1256
00:41:48,210 --> 00:41:48,870
Let's kind of go through it.
1257
00:41:48,890 --> 00:41:50,010
But at least I know I will deliver
1258
00:41:50,010 --> 00:41:52,850
on my services front to end, front to
1259
00:41:52,850 --> 00:41:52,990
back.
1260
00:41:53,190 --> 00:41:53,770
Thank you.
1261
00:41:53,910 --> 00:41:54,910
We're gonna pass the mic back there.
1262
00:41:57,650 --> 00:41:59,770
So I know you mentioned you have the
1263
00:41:59,770 --> 00:42:01,790
off camera at 116th power.
1264
00:42:01,990 --> 00:42:02,170
Yes.
1265
00:42:02,910 --> 00:42:06,710
For the on camera during the reception, are
1266
00:42:06,710 --> 00:42:08,510
you TTL or manual?
1267
00:42:08,770 --> 00:42:09,550
And what's your go-to?
1268
00:42:10,090 --> 00:42:10,670
I am TTL.
1269
00:42:10,790 --> 00:42:12,250
I mean, I rock auto white balance and
1270
00:42:12,250 --> 00:42:13,290
TTL and I own it.
1271
00:42:13,690 --> 00:42:14,870
You know, I know that there are some
1272
00:42:14,870 --> 00:42:17,290
great, amazing flash photographers who will teach you
1273
00:42:17,290 --> 00:42:19,050
all the tips and tricks, but I have
1274
00:42:19,050 --> 00:42:21,170
found ways to, I know it's not a
1275
00:42:21,170 --> 00:42:22,550
technical term, but I heard like foof.
1276
00:42:22,830 --> 00:42:24,510
Like I foof my light quite often, which
1277
00:42:24,510 --> 00:42:26,730
is basically, this is not technical.
1278
00:42:26,730 --> 00:42:27,590
I'm gonna get questions about this.
1279
00:42:27,690 --> 00:42:29,310
I turn my camera, I turn my flash
1280
00:42:29,310 --> 00:42:30,890
back and I tilt it.
1281
00:42:31,710 --> 00:42:33,370
These walls wouldn't work, but that white wall
1282
00:42:33,370 --> 00:42:33,610
would.
1283
00:42:33,730 --> 00:42:35,770
But let's just say this wall is white.
1284
00:42:36,350 --> 00:42:40,790
If my off camera flash is here, or
1285
00:42:40,790 --> 00:42:41,850
it could be anywhere, but I'll just say
1286
00:42:41,850 --> 00:42:43,870
here, these people are gonna be side lit,
1287
00:42:43,970 --> 00:42:44,070
right?
1288
00:42:44,190 --> 00:42:46,330
And side lit or front lit, depending on
1289
00:42:46,330 --> 00:42:46,870
where I'm gonna shoot it.
1290
00:42:46,930 --> 00:42:48,750
Right now, let's see.
1291
00:42:49,030 --> 00:42:50,190
Okay, it's gonna light her here.
1292
00:42:50,410 --> 00:42:51,650
Now if I wanted to light somebody back
1293
00:42:51,650 --> 00:42:53,650
here, I would just turn my flash, tilt
1294
00:42:53,650 --> 00:42:55,490
it back towards this white wall, and now
1295
00:42:55,490 --> 00:42:56,630
I have a big white reflector.
1296
00:42:57,010 --> 00:42:59,050
We find ourselves doing this quite a bit.
1297
00:42:59,350 --> 00:43:01,590
And in reception areas that have white pillars,
1298
00:43:02,070 --> 00:43:04,270
and it's a tough lighting situation, I park
1299
00:43:04,270 --> 00:43:05,470
it, I park it by a pillar for
1300
00:43:05,470 --> 00:43:05,730
a while.
1301
00:43:05,950 --> 00:43:07,750
And I turn my flash back towards the
1302
00:43:07,750 --> 00:43:10,750
white pillar, use this light, and those pictures
1303
00:43:10,750 --> 00:43:12,170
end up being some of the ones that
1304
00:43:12,170 --> 00:43:13,150
are strongest from the set.
1305
00:43:14,550 --> 00:43:15,430
Cool, yeah.
1306
00:43:16,490 --> 00:43:18,170
Great, so I think that this is a
1307
00:43:18,170 --> 00:43:20,130
great, did you have a question?
1308
00:43:20,770 --> 00:43:21,810
Okay, you were just scratching?
1309
00:43:22,310 --> 00:43:22,690
Okay, good.
1310
00:43:22,850 --> 00:43:23,530
No, I wanna make sure.
1311
00:43:23,530 --> 00:43:25,430
This is a good place to end it
1312
00:43:25,430 --> 00:43:26,190
right about now.
1313
00:43:26,470 --> 00:43:27,990
If you guys have questions, I'd be more
1314
00:43:27,990 --> 00:43:29,730
than willing to ask them later, but I
1315
00:43:29,730 --> 00:43:31,950
always know that if you're anything like me,
1316
00:43:32,270 --> 00:43:35,250
the tech is important, and it's valuable, but
1317
00:43:35,250 --> 00:43:37,630
it's probably not our favorite thing.
1318
00:43:37,710 --> 00:43:38,810
And I know this rubs a lot of
1319
00:43:38,810 --> 00:43:40,790
specifically male photographers the wrong way.
1320
00:43:41,070 --> 00:43:43,070
There are, oh, I have seen dirty threads.
1321
00:43:43,510 --> 00:43:44,550
She doesn't know what she's talking about.
1322
00:43:44,610 --> 00:43:45,110
She doesn't know this.
1323
00:43:45,150 --> 00:43:46,350
And I was like, I am so busy
1324
00:43:46,350 --> 00:43:48,030
traveling, I can't even have time, I don't
1325
00:43:48,030 --> 00:43:49,390
have time to read what you're doing.
1326
00:43:49,510 --> 00:43:51,290
I know, mean, mean.
1327
00:43:51,290 --> 00:43:53,650
But on the real, the gear matters, but
1328
00:43:53,650 --> 00:43:55,390
the person holding the gear matters more.
1329
00:43:55,690 --> 00:43:57,530
Thank you guys so much, I appreciate it.
90936
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