(upbeat music)
All right, so let's dive on in.
And I'll kind of stop some stuff,
Ink2Go clearly is what I used for this, so.
So, in this section right here, I'm showing you guys
how I do the hairspray shot.
Clearly, I have, if we go here,
clearly I have over here my assistant.
She is holding a MagMod with a flash.
And sometimes I'll use a grid, sometimes I don't.
But that's what she's using there
and then I will let her know, kind of where I want here at.
And I generally have her right behind the head,
literally like right behind her,
the flashlight behind her head.
I'll have the lady here, she'll kind of sit.
I like going behind because I like the spray up and down,
instead of having the spray go like up like this
or something like that.
And I like going from the side,
you can see over in this direction here
is the window light.
There's a huge window that's coming in this direction.
So, you see that the light is all the way
coming through the window right over here,
so it's hitting her face.
It's doing all that stuff right in there in that section.
So, I like having that there because of that,
so it's really, really nice.
All right, so now let's go ahead and play
and you'll see kind of how I do that with you here.
I had the light, I had to make sure the light was nice
because you just gotta make sure right?
Like that light looks good in the photography.
Boom.
So, see how she's going up like that?
And I'm actually gonna be like, hey, can you change that?
See in that moment, I was like hey,
let's try like this but we got cut in that sequence but,
cool.
She's still kind of going up but whatever.
Here goes, and those look really good.
So, those worked out well.
And then for this, I also so, generally during the wedding
I will always say hey, can you,
let's do some faking the make-up shot.
I want lips, I want some like blush
and then I love like the eyelash,
stuff like that because I like a overhead shot.
And then I love shooting right over her shoulder
with some gorgeous light.
So, you'll kind of see that there.
I'll also put my settings on these,
so you'll see all of my settings as well.
But it's just really nice to be able to shoot
like over her shoulder,
and stuff like that, get those angles here.
Now, I put her next to the window here.
Generally, I like to put her next to the window
but you'll see here that it was creating
like a split lighting.
So, you can see how shaded it is right in here,
while the light coming in from over here.
And so what I generally do here
is I will actually rotate her
to face the light a little bit more.
I should do that here, we'll see how that goes.
But I should do that here.
See that, you see the huge difference there?
So, there's a big difference,
now that there's more light
and the shadow actually comes here,
rather than it was way over here, really splitting her.
And I don't want that and so this is really nice.
This is way more flattering for brides,
especially for brides like her,
who are gorgeous and wantably flattered.
And I love here, so like whenever they do the eyelashes,
I don't like for her to look up as much,
as I like for her to look down
because then you really see the lashes
and makeup artist love that stuff.
See those lashes?
Way better.
In something like this, I'm shooting a 55 here.
So, you can see that I'm a little bit back further
because a 35 isn't gonna be super flattering
but I like shooting the 55
because it's a little bit more flattering for her
and she'll be happy about that.
About these shots, it's a little bit more thinning,
especially as she's looking down over her shoulder.
And now, when it comes to photographing the dress
getting put on.
I really enjoy going with the shadows,
and sometimes I'll go against it because this light here
looks really nice form this angle
and she'll like that from this angle.
But then the other way has really nice depth,
especially with black and white.
So, sometimes, I tend to go to that way,
so it just really depends on how you like to shoot it.
So, generally, I always have the bride
before they even, like while they're getting ready,
I don't have them put their shoes on
'cause I like for somebody else
to put the shoes on for them.
I like for them to put their own earrings,
sometimes people like to have people put their earrings on
for them and that's cool too, I'll get that.
I always will have them, in this window light,
where not necessarily split but it is across their body.
And what I always have is, for women,
especially larger women, I will have their chest
go away from the light,
so you'll see like, the broader I am,
the more light that shows, look how fat this cat is
right here.
But the more I go this way,
if the cat was looking in the right direction,
the skinnier it'd look because the light comes here.
But then I'll bring her face back over into this direction.
So, when this is not in the way,
you can see from this split lighting here,
to coming here and looking over here,
this is way more flattering for a female, okay.
So, that's how I'll kind of do that
and go with that direction.
Just like this, boom.
Okay, and so that's what I'm gonna do here.
You see how, right in here, this is all shadow,
'cause her shoulder, this is light right here.
And this is all shadow right here,
and yet, the shadow is only right in here.
So, this is a all light that hits her face.
So, really nice and flattering for a woman here.
So, I always make sure that I have them facing the light,
body away, so really nice and it's a great way to,
to make sure that she is, she looks great.
Same thing with the shoes.
I like to have the light with the shadows in here.
Okay, something to consider here.
Never with women, do we want to create angles
that are like, we don't ever wanna create angles like this,
right, so like, she brought it up and it was like this.
I want her down, I want her more at,
instead of being at like a right angle,
maybe that's what that is, I want her down here.
That's a lot more flattering for her.
And then what I have her do is, as you'll see,
I have her body, right,
go away so this is a lot of shadows on her back,
which is really nice.
And then her face is gonna be turned towards me.
So, you'll see what that looks like.
Okay, so did y'all see that?
That was a huge difference.
Look at how like broader her back looks,
how stiff it is, all these things
and then she dropped her shoulder like that,
and then it created a lot more curve.
So, brides will have a tendency to be like this,
drop that front shoulder.
Okay, like some much more gorgeous.
It elongates, it doesn't clump up in the neck here,
it doesn't clump up in the neck here and it elongates down.
It's really, really nice.
And sometimes, I do have her face the light like that
but I'm only shooting like chest up.
I'm not shooting her whole body,
so it's just a little bit different there.
It's not as, she doesn't look as broad.
But this is more of, just kind of a glamor portrait,
instead of like the split lighting as much.
Whenever they have a veil, I love getting just like
a nice black and white or nice color with the veil
over their face.
It's gorgeous and they don't even have to have
the veil on at all.
So, again, I'm literally only shooting from like,
top of the chest up, so I'm not worried about light
on the body here.
I'm more concerned about light on the face,
which I do want it pretty well-lit.
Definitely not split lighting.
Good, I love that, lean back down.
Good.
Ready? (laughs)
Girl.
Oh my gosh, I can't even look at them.
So good. That's you girl,
so gorgeous.
So, I hope that's helpful.
Just for even that little stage of the bride getting ready,
there's some stuff there
but that's generally what I do,
it's not too hard
and you saw she was blown away by it.
So, hopefully you guys enjoy that,
I hope it's helpful for you.
And if you need anything, like I always say,
don't hesitate to let me know, 'cause I'm here for you.
Psh!
(upbeat music)