Original subtitles

All right, for Janet and Will's portraits, they

had a limo, and they had two locations

in mind.

So we'll start at Princess Island Park, which

is an inner city park in Calgary, down

on the river.

We have photographed there a few times in

the past, so we kind of knew what

we were getting ourselves into there.

You guys remember the spinning around into each

other one?

So just to set the stage, you'll be

finished up with the bridal party, they've headed

back to the limo, and now we've got

about 20 minutes, 20 or 30 minutes with

just Janet and Will.

And as you can see, the sun behind

has, we've lost the sun at the park.

You can still see the highlights up on

the ridge behind.

And so Eric is obviously getting started with

some up close connection shots.

Now we did do an engagement session with

Janet and Will a few months prior, so

they already kind of knew some of our

poses and cues.

There you can see I'm running off to

go and grab Erica's camera bag and light

stand that she'd left.

It's working, it's working, Eli's laughing, I got

an authentic laugh.

Yeah, it's good.

Okay, perfect, let's do one, it's good.

Okay, perfect, let's do one more where you're,

the penguin pose, so together at the hips

like you just were.

Okay, and then what I want you guys

to do is almost touch your teeth, okay?

So like, you're gonna do a smile, like

this, and you're gonna like, go in for

a kiss, but I don't want any puckered

lips.

So just, so Will, Will, put your arms

around her.

As soon as that sun went down, it

got pretty cold, pretty fast.

Oh, not cold at all.

I don't know, you're definitely pretty hot.

Okay, and put your hands up on her

back, like really up high, and then you're

up high too, okay.

Perfect, okay, and then let's get Jenna's nose

closer to me.

Okay, and then try and click them.

Again.

Okay, awesome, let's see if we're on ease.

Okay, now I'm trying to look for a

bit of a small person, big world type

shot, and we have shot, as you've seen,

I think, week five shoot throughs, we have

shot through this statue before.

Right where I'm looking through my lens right

there is a missing marble.

It's basically just a big kind of statue

full of all these colorful marbles, and one

marble's missing, so I'm thinking I'm gonna try

to do something through that, again, a little

bit similar, but a little bit different to

what we've done once before, as you've seen.

I'm obviously gonna need flashes to make them

pop, so Erica's coming now with them.

Not really sure the details yet.

Got the 24 millimeter lens on the camera,

I believe, to start.

So we've got a B10 flash on them.

Kind of need that extra power, because it's

still pretty bright out.

Speed light would have worked if I just

held it really close.

Now we're putting light on the marbles as

well.

Wasn't loving it, working it as best I

could.

Realized the 24 lens was a little bit

too wide, they were too small, so I

ended up switching to the 50.

I was happier with that.

So Erica's got an idea here for kind

of a big environmental shot with them in

the park surrounded by the trees.

And we're gonna backlight them to try to

make them pop within the scene.

To help them to pop.

I believe she's putting the 85 millimeter lens

on there, which feels to be about the

right focal length given their distance.

I'm back there with a speed light behind

them.

Wearing a super distracting red bright jacket.

So Erica's eyeballing the shots and now just

fine tuning the flash.

Can you go further behind them so that

it's more like a bright spot?

She's trying to get the light further back

so that there's a bright spot behind their

heads as well, not just their lower bodies.

Better.

You probably have them walk back and forth

here eight, nine, 10 times, tweaking the angle

of the light.

Okay, walk slowly.

Oh my

God.

Okay, so that's it.

Time's up here.

We're moving on.

We all hop in the limo and we

drive to this Scotsman Hill location that's kind

of overlooking the downtown core with the cityscape.

And as you can see, by the time

we got there, now the sun is fully

set and we're moving into dusk light.

We've got the blue hour now.

And it's about 10 degrees colder.

It's about minus 10, I believe.

And we only had like 10 or 15

minutes here.

We did a quick bridal party shot.

They all piled back into the limo bus.

And then we had another five or 10

minutes with Jen and Will to do this.

They chose this location.

So they wanted something with the city behind.

Erica's got a flash in behind them, giving

that pop of rim light, exposing for the

skyline behind.

It's an 85 millimeter lens.

Yeah, just exposing for the drama in the

skyline behind and popping that flash for rim

light.

Okay, now we're moving them around.

Try to side light them.

I'm gonna try to do a wider shot,

bigger shot where they're small and

it is cold and it is windy.

Just gonna try a bunch of things here

with them small.

Side lighting.

Not really sure what I'm gonna like best

or which ones we're gonna end up using.

So now that I've got the exposure and

the lighting, I can try a few different

poses, movements.

As long as we keep that distance of

the light the same.

None of these really worked that well.

The one that worked the best was just

straight forward backlight rim light of them in

the penguin pose actually.

The movement ones just didn't line up that

well.

And that was it.

Reorganizing, getting our bag ready, head back for

reception.

Feeling dejected, stressed, rushed.

But seeing the light at the end of

the tunnel when we get in there.