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These are the user uploaded subtitles that are being translated: 1 00:00:05,980 --> 00:00:06,420 Awesome. 2 00:00:06,940 --> 00:00:09,680 So the section we're getting into right now 3 00:00:09,680 --> 00:00:12,760 is addressing the best lenses to shoot a 4 00:00:12,760 --> 00:00:12,960 wedding. 5 00:00:13,540 --> 00:00:15,360 Now, a side note. 6 00:00:15,640 --> 00:00:17,460 They're best for me, right? 7 00:00:17,520 --> 00:00:18,760 Like, I don't want anybody to walk away 8 00:00:18,760 --> 00:00:21,280 thinking, like, either, oh, I need that lens, 9 00:00:21,360 --> 00:00:22,940 because you don't if it's not applicable to 10 00:00:22,940 --> 00:00:23,760 your shooting style. 11 00:00:24,200 --> 00:00:25,960 Or you might walk away being like, she's 12 00:00:25,960 --> 00:00:27,480 totally missing this lens. 13 00:00:27,560 --> 00:00:29,580 That's true, but I have found what's worked 14 00:00:29,580 --> 00:00:31,520 for me by a series of trial and 15 00:00:31,520 --> 00:00:31,659 error. 16 00:00:31,920 --> 00:00:33,560 But before we get into what I think 17 00:00:33,560 --> 00:00:34,920 are the best weddings to shoot a wedding, 18 00:00:34,920 --> 00:00:36,420 I want to first show what is in 19 00:00:36,420 --> 00:00:37,000 my bag. 20 00:00:37,860 --> 00:00:40,080 So I'm going to start off by just 21 00:00:40,080 --> 00:00:42,500 kind of outlining how it works for myself 22 00:00:42,500 --> 00:00:42,940 and JD. 23 00:00:43,500 --> 00:00:46,780 We carry our gear in a think tank 24 00:00:46,780 --> 00:00:48,140 airport bag. 25 00:00:48,420 --> 00:00:50,620 That is how it's listed on the website, 26 00:00:50,720 --> 00:00:53,280 because this is sizable enough to be checked 27 00:00:53,280 --> 00:00:54,900 in above, and that's very important. 28 00:00:55,420 --> 00:00:57,780 We do not ever check any of our 29 00:00:57,780 --> 00:00:58,040 bags. 30 00:00:58,140 --> 00:01:00,200 We do not check our clothing bags or 31 00:01:00,200 --> 00:01:02,080 our gear bags when we're traveling for a 32 00:01:02,080 --> 00:01:03,980 wedding, because if we lost either one of 33 00:01:03,980 --> 00:01:06,040 those two things, we're completely off our game, 34 00:01:06,140 --> 00:01:07,400 and it will affect how we work. 35 00:01:08,420 --> 00:01:10,320 So on a wedding day, if we're just 36 00:01:10,320 --> 00:01:12,860 working locally, this is the bag that carries 37 00:01:12,860 --> 00:01:13,960 the majority of our gear. 38 00:01:14,280 --> 00:01:16,860 And then we have satellite bags. 39 00:01:17,180 --> 00:01:20,100 So this is the Brixton bag by Ona, 40 00:01:20,320 --> 00:01:20,900 O-N-A. 41 00:01:21,540 --> 00:01:23,660 And I absolutely love how these work for 42 00:01:23,660 --> 00:01:23,920 us. 43 00:01:24,160 --> 00:01:25,980 Now, they are on the pricier end, but 44 00:01:25,980 --> 00:01:27,320 they're on the pricier end because they are 45 00:01:27,320 --> 00:01:30,020 made of genuine leather, and they last forever. 46 00:01:30,460 --> 00:01:31,880 Now, it looks like a side bag, which 47 00:01:31,880 --> 00:01:33,580 is what I find appealing, because we do 48 00:01:33,580 --> 00:01:35,280 a lot of personal travel and a lot 49 00:01:35,280 --> 00:01:35,900 of business travel. 50 00:01:36,280 --> 00:01:38,420 I stay away from camera bags that look 51 00:01:38,420 --> 00:01:39,920 like camera bags, because they're kind of like 52 00:01:39,920 --> 00:01:43,040 blurring advertisements to steal thousands of dollars worth 53 00:01:43,040 --> 00:01:43,460 of gear. 54 00:01:43,900 --> 00:01:45,760 Now, JD uses the Brixton bag, and I 55 00:01:45,760 --> 00:01:47,520 use the Brooklyn bag. 56 00:01:47,600 --> 00:01:48,560 I love both those bags. 57 00:01:48,640 --> 00:01:49,840 I will take this bag on an engagement 58 00:01:49,840 --> 00:01:52,040 session, because I just love the look and 59 00:01:52,040 --> 00:01:52,500 feel of it. 60 00:01:52,540 --> 00:01:53,780 But on a wedding day, I have found 61 00:01:53,780 --> 00:01:55,440 that it's a little too big for me. 62 00:01:55,620 --> 00:01:56,940 The Brooklyn bag is smaller. 63 00:01:57,080 --> 00:01:59,200 But I'll walk through what the gear that 64 00:01:59,200 --> 00:01:59,620 I use. 65 00:02:00,360 --> 00:02:02,720 I shoot with a Canon 5D Mark III. 66 00:02:02,940 --> 00:02:03,380 Excuse me. 67 00:02:04,820 --> 00:02:07,000 This camera has changed the way that I 68 00:02:07,000 --> 00:02:07,580 approach weddings. 69 00:02:07,720 --> 00:02:09,759 I first started shooting with a Canon 20D, 70 00:02:10,020 --> 00:02:11,520 which is what is referred to as a 71 00:02:11,520 --> 00:02:13,680 prosumer lens, a prosumer camera. 72 00:02:14,080 --> 00:02:18,280 So it's a slightly professional camera for a 73 00:02:18,280 --> 00:02:18,600 consumer. 74 00:02:19,180 --> 00:02:21,840 I then, after that, upgraded to the 5D, 75 00:02:21,960 --> 00:02:23,560 and it changed my life, because I went 76 00:02:23,560 --> 00:02:25,780 from a crop sensor to a full sensor 77 00:02:25,780 --> 00:02:26,500 on the 5D. 78 00:02:26,560 --> 00:02:28,440 And it was fantastic, and the color files 79 00:02:28,440 --> 00:02:28,900 were different. 80 00:02:28,900 --> 00:02:31,520 I stayed with the 5D through the transitions. 81 00:02:31,780 --> 00:02:34,460 I got the 5D Mark II, even though 82 00:02:34,460 --> 00:02:35,780 the color files kind of were a little 83 00:02:35,780 --> 00:02:36,260 bit tweaked. 84 00:02:36,540 --> 00:02:39,540 But it had video capability and higher ISO 85 00:02:39,540 --> 00:02:40,900 capabilities, which I really loved. 86 00:02:41,300 --> 00:02:44,380 The 5D was like the perfect unicorn child, 87 00:02:44,500 --> 00:02:48,480 because the focusing system increased. 88 00:02:48,600 --> 00:02:50,500 It went to a 64-point focusing system, 89 00:02:50,720 --> 00:02:52,400 which was fantastic. 90 00:02:52,820 --> 00:02:54,700 In my early days with CreativeLive, people would 91 00:02:54,700 --> 00:02:57,420 always ask, why are you dipping your camera? 92 00:02:57,640 --> 00:02:58,640 Why are you dipping your camera? 93 00:02:58,640 --> 00:03:00,040 And I didn't understand what I was doing 94 00:03:00,040 --> 00:03:02,180 until I had seen a few-second clip. 95 00:03:02,700 --> 00:03:07,180 And I realized that I was finding the 96 00:03:07,180 --> 00:03:10,140 focal point closest to my subject, and then 97 00:03:10,140 --> 00:03:11,400 shifting and recomposing. 98 00:03:11,520 --> 00:03:13,520 And I was shifting and recomposing in between 99 00:03:13,520 --> 00:03:15,580 every single frame. 100 00:03:16,140 --> 00:03:17,600 And so with this, to find one of 101 00:03:17,600 --> 00:03:19,640 64 points really makes it so much easier. 102 00:03:19,720 --> 00:03:20,780 And I find that my photos are a 103 00:03:20,780 --> 00:03:22,320 lot more in focus as a result. 104 00:03:24,500 --> 00:03:25,660 So I shoot. 105 00:03:25,660 --> 00:03:29,200 This is how I keep all my cards. 106 00:03:30,320 --> 00:03:31,980 And I keep it in my bag. 107 00:03:32,340 --> 00:03:33,820 Now, how we indicate that a card is 108 00:03:33,820 --> 00:03:35,720 fresh, we have it facing up, fresh meaning 109 00:03:35,720 --> 00:03:37,580 that it has been reformatted and has been 110 00:03:37,580 --> 00:03:39,040 backed up on another source. 111 00:03:39,260 --> 00:03:41,120 When we are done shooting with it, or 112 00:03:41,120 --> 00:03:42,700 it is to indicate that it should not 113 00:03:42,700 --> 00:03:44,200 be touched for the rest of the day, 114 00:03:44,340 --> 00:03:46,940 it is flipped upside down and placed face 115 00:03:46,940 --> 00:03:48,560 out, so that we know if I'm working 116 00:03:48,560 --> 00:03:50,200 with an assistant or if JD picks up, 117 00:03:50,360 --> 00:03:51,800 he knows where I am at any given 118 00:03:51,800 --> 00:03:52,280 point in the day. 119 00:03:52,380 --> 00:03:54,360 Although he should never be touching this, because 120 00:03:54,360 --> 00:03:55,980 he has a whole set of his own. 121 00:03:56,220 --> 00:03:58,660 But just in any given case, if I'm 122 00:03:58,660 --> 00:04:00,000 like, hey, can you grab me a card, 123 00:04:00,320 --> 00:04:01,980 he knows what I am referring to. 124 00:04:02,120 --> 00:04:03,400 Now, this is a Lowepro bag. 125 00:04:03,500 --> 00:04:06,160 I've gone through different bags where there's Velcro 126 00:04:06,160 --> 00:04:07,020 along the side. 127 00:04:07,200 --> 00:04:08,900 I have done where all the cards, all 128 00:04:08,900 --> 00:04:10,440 the clean cards are in one pocket and 129 00:04:10,440 --> 00:04:11,500 all the used cards are in another. 130 00:04:11,840 --> 00:04:13,500 I just felt that for some reason, this 131 00:04:13,500 --> 00:04:15,339 worked for me a lot better over the 132 00:04:15,339 --> 00:04:15,579 years. 133 00:04:16,740 --> 00:04:19,320 So we're gonna go to my most favorite 134 00:04:19,320 --> 00:04:20,920 lens and the lens that I use the 135 00:04:20,920 --> 00:04:23,180 absolute most, because for my style, it is 136 00:04:23,180 --> 00:04:23,760 the most diverse. 137 00:04:23,760 --> 00:04:26,640 It is the Canon 50 millimeter 1.2. 138 00:04:26,860 --> 00:04:29,100 I use this so often. 139 00:04:29,200 --> 00:04:30,840 As you see in lessons of me doing 140 00:04:30,840 --> 00:04:32,480 the shoots and as you will see, I'm 141 00:04:32,480 --> 00:04:34,920 guessing highly on the wedding day with the 142 00:04:34,920 --> 00:04:35,220 knot. 143 00:04:35,460 --> 00:04:37,020 This is my go-to lens. 144 00:04:37,440 --> 00:04:39,200 This is what I travel with. 145 00:04:39,320 --> 00:04:40,320 This is what I use. 146 00:04:40,460 --> 00:04:42,240 This is how I curate personal aspects of 147 00:04:42,240 --> 00:04:42,660 my life. 148 00:04:42,920 --> 00:04:44,740 I love it because of its versatility and 149 00:04:44,740 --> 00:04:47,040 I can use it at every single time 150 00:04:47,040 --> 00:04:47,600 of the day. 151 00:04:48,260 --> 00:04:49,080 Every single time. 152 00:04:49,160 --> 00:04:51,240 The 50 millimeter never leaves my bag because 153 00:04:51,240 --> 00:04:52,440 I need it at some point or another. 154 00:04:52,440 --> 00:04:54,440 The fact that it's a 1.2 gives 155 00:04:54,440 --> 00:04:55,920 me a lot of option when it comes 156 00:04:55,920 --> 00:04:58,840 to varying available light. 157 00:04:59,180 --> 00:05:00,420 I can be in a dark room during 158 00:05:00,420 --> 00:05:02,020 prep and I can just shoot at an 159 00:05:02,020 --> 00:05:03,940 800 ISO and at a 1.2 and 160 00:05:03,940 --> 00:05:06,160 produce images that I'm still really proud of 161 00:05:06,160 --> 00:05:08,600 and that truly reflect my style without having 162 00:05:08,600 --> 00:05:09,340 to use flash. 163 00:05:10,360 --> 00:05:13,880 My second most used and favorite camera is 164 00:05:13,880 --> 00:05:18,700 the Canon 35 1.4. This lens was 165 00:05:18,700 --> 00:05:20,760 such a great lens and I didn't get 166 00:05:20,760 --> 00:05:22,420 it up until later on in the game 167 00:05:22,420 --> 00:05:24,860 because I had stylistically, earlier in my career, 168 00:05:24,960 --> 00:05:27,220 had purchased other L series lenses thinking that 169 00:05:27,220 --> 00:05:28,220 that was what I needed. 170 00:05:28,620 --> 00:05:30,420 But truth be told, up until I think 171 00:05:30,420 --> 00:05:31,640 this was three, four years ago that I 172 00:05:31,640 --> 00:05:33,360 got this lens, this was the lens that 173 00:05:33,360 --> 00:05:33,700 I needed. 174 00:05:34,040 --> 00:05:36,220 Because of my style, I'm a lifestyle photographer, 175 00:05:36,680 --> 00:05:39,560 I should be staying away from really wide 176 00:05:39,560 --> 00:05:42,640 photos because I can't curate width to such 177 00:05:42,640 --> 00:05:44,780 a large degree but I can curate depth 178 00:05:44,780 --> 00:05:45,220 to a degree. 179 00:05:45,340 --> 00:05:47,960 And when you use a lens like the 180 00:05:47,960 --> 00:05:50,660 24, the 16 to 35, both lenses that 181 00:05:50,660 --> 00:05:52,920 I own, I was getting far too much 182 00:05:52,920 --> 00:05:55,240 in the frame to actually convey the fact 183 00:05:55,240 --> 00:05:56,300 that I was a lifestyle photographer. 184 00:05:56,780 --> 00:06:00,480 I use the 35 for couples portraits and 185 00:06:00,480 --> 00:06:03,420 landscape pictures but the beauty of the 35 186 00:06:03,420 --> 00:06:05,740 is that it's measured closely to what the 187 00:06:05,740 --> 00:06:09,400 eye naturally sees from periphery to periphery. 188 00:06:09,580 --> 00:06:11,040 So what you're looking at is what you're 189 00:06:11,040 --> 00:06:12,460 going to get when shooting a full frame 190 00:06:12,460 --> 00:06:13,420 camera. 191 00:06:14,360 --> 00:06:16,920 Third most used lens would be the 85 192 00:06:16,920 --> 00:06:20,800 1.2. This lens is so heavy but 193 00:06:20,800 --> 00:06:23,180 it's beautiful and it works so well and 194 00:06:23,180 --> 00:06:25,080 you get creamy, buttery skin tones. 195 00:06:25,440 --> 00:06:27,820 When shooting a bride specifically at a distance, 196 00:06:27,920 --> 00:06:29,400 there's something about the compression of this lens 197 00:06:29,400 --> 00:06:32,240 that produces such a beautiful photo and you 198 00:06:32,240 --> 00:06:35,640 can really see bokeh so magnified by using 199 00:06:35,640 --> 00:06:36,120 this lens. 200 00:06:36,420 --> 00:06:38,620 I understand that there are very few photographers 201 00:06:38,620 --> 00:06:40,560 who like, not few, but there are fewer 202 00:06:40,560 --> 00:06:42,840 photographers who like using this lens because it 203 00:06:42,840 --> 00:06:44,740 does take a longer time to focus. 204 00:06:45,200 --> 00:06:47,060 We're gonna get into the differences between the 205 00:06:47,060 --> 00:06:49,500 85 1.8 and the 1.2, both 206 00:06:49,500 --> 00:06:51,440 lenses that I used and loved. 207 00:06:51,640 --> 00:06:53,880 But for some reason, that 1.2, the 208 00:06:53,880 --> 00:06:55,920 creaminess of skin tones when you lock into 209 00:06:55,920 --> 00:06:58,000 a bride's eye and there's light flickering off 210 00:06:58,000 --> 00:06:59,660 a tree in the background, it's stunning. 211 00:07:00,940 --> 00:07:04,180 So we're gonna move into other gear that 212 00:07:04,180 --> 00:07:05,200 I use on a wedding day. 213 00:07:07,690 --> 00:07:10,270 So the fourth lens that I use the 214 00:07:10,270 --> 00:07:15,330 most would be the 70-200 IS 2 215 00:07:15,330 --> 00:07:18,970 .8. Now, this lens is the lens that 216 00:07:18,970 --> 00:07:23,810 every wedding photographer needs, not wants, you need 217 00:07:23,810 --> 00:07:23,990 it. 218 00:07:24,230 --> 00:07:27,590 Now, it's also expensive and I don't really 219 00:07:27,590 --> 00:07:29,710 use this lens at any other point besides 220 00:07:29,710 --> 00:07:30,350 the ceremony. 221 00:07:31,490 --> 00:07:33,510 Because of this, if you're kind of figuring 222 00:07:33,510 --> 00:07:35,050 out what lenses you need to buy and 223 00:07:35,050 --> 00:07:37,190 when, I would heavily suggest that you rent 224 00:07:37,190 --> 00:07:40,310 this lens for every wedding that you shoot 225 00:07:40,310 --> 00:07:42,230 without the pressure of having to buy it. 226 00:07:42,350 --> 00:07:44,410 But you need it because in shooting in 227 00:07:44,410 --> 00:07:46,610 a dark church or shooting at a ceremony 228 00:07:46,610 --> 00:07:47,870 and you have to shoot at a distance 229 00:07:47,870 --> 00:07:49,910 by request from family members, by a priest, 230 00:07:50,010 --> 00:07:51,850 by a church lady, this is the only 231 00:07:51,850 --> 00:07:53,370 lens that's gonna get you close enough to 232 00:07:53,370 --> 00:07:55,050 yield the type of results that you need 233 00:07:55,050 --> 00:07:55,710 and you want. 234 00:07:56,090 --> 00:07:58,430 There is a 70-200 without IS image 235 00:07:58,430 --> 00:07:58,690 stability. 236 00:07:59,290 --> 00:08:01,990 Image stability has been a life changer in 237 00:08:01,990 --> 00:08:02,910 really dark situations. 238 00:08:03,150 --> 00:08:05,130 It really is clutch. 239 00:08:05,430 --> 00:08:07,390 Now, if you're more of a photojournalistic photographer, 240 00:08:07,930 --> 00:08:09,570 this lens is amazing. 241 00:08:09,690 --> 00:08:12,010 That's definitely what you want to use. 242 00:08:14,670 --> 00:08:17,750 Now, this lens is the 100 millimeter macro 243 00:08:17,750 --> 00:08:18,170 IS. 244 00:08:18,690 --> 00:08:21,450 This is a great lens and I love 245 00:08:21,450 --> 00:08:21,610 it. 246 00:08:21,690 --> 00:08:23,310 I wish I used it more for different 247 00:08:23,310 --> 00:08:25,750 parts of the day, but quite honestly, I 248 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 254 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 265 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. 272 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. 277 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 282 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 288 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. 292 00:09:50,910 --> 00:09:52,010 I might bring it out on a wedding 293 00:09:52,010 --> 00:09:54,270 day, but it's more traditionally for family photos. 294 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 298 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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