We back and we back and we back the poetry slam.
I dunno.
A poetry slam is today I'm using the on 85 millimeter F 1.8 VC as my main lens.
I also have with me the Nikon [inaudible]
24 one four and the 7,200 FL.
Today we're doing photo and video as one person though hybrid coverage. Yo,
just outside of Toronto. I told you that this was a poetry slam.
My thoughts on cameras and lenses coming up next.
[inaudible] don't buy that. Rule the case, so you'll fill it with gear.
The less bring makes work that's more sincere.
Softbox octoBox and props don't get people in your inbox.
It's the feelings you make. The answer is simple.
Focus on what's real and your business will triple.
Don't look at other people's social metrics.
Likes and Instagram don't equal Alexis,
even though you both came up from the same spot and now they're blowing up by
and drop tops.
Roll into the pest shops and eating a triceratops to let it discourage you.
You play the long game. Poaches
[inaudible]
here. Michael waits for the first look is heart beating.
Let's listen to his heart. You can't hear his heart.
Little does he know that the reveal is actually with his best man in a dress
that he bought from the thrift store for $5 I'm doing a terrible job self
filming this because I'm doing a lot of things right now.
They are both quite excited. Let's go and closer to see the excitement.
Oh yes. Bridesmaid.
Jen has also brought out her digital SLR to record this moment.
The best man is also her fiance.
Now they're holding hands and things are getting a little bit more real.
Michael still has no idea because of the nerves.
Michael asks his broad question and his best man responds in his dentist voice
giving it away
and the prank is complete and there is no real actual first look.
This was it so they will have to wait until the ceremony now.
Ceremony, smack the lip get pitted. So pitted.
Spend the majority of my time at the very beginning doing as many candidates as
I possibly can but also getting the detailed shots that I need for video.
I really only need like three kind of establishing shots a wide and maybe two
details.
So I don't go too deep into just like getting videos of everything that I'm also
getting photos of. I feel like that's the separation,
the separation for video clips of people moving candid in between moments and
for still images of details. I feel like that just,
it just makes sense most of the time.
I'm going to do the photos first and then I'm going to flip the video mode.
Shooting the da 50 a your buffer just basically clears infinitely fast. Uh,
so as soon as you take a bunch of raw photos,
they're pretty much just written to the card so you can instantly record. Um,
I haven't really found that feature in a lot of cameras.
I've tried most of the Sony's and unfortunately the buffers, uh, very,
very capped I guess on the actual camera body.
So regardless of how fast of cards you put in it, uh, you can't do that.
So with a Nikon D eight 50 in the D five currently are kind of the best options
for that. I find. Um,
I haven't played around too much with the Canon side of things,
so maybe somebody can um,
punch it into the comments below and let me know if it's possible. But I really,
really like to be able to switch instantly fast
for all the bridesmaids coming down the aisle or if the grooms would happen to
also come down the aisle. I'm usually just doing photography coverage of it.
I will usually get a video clip of whoever the maid of honor is. Um,
and the time that I break my rule to do video first is whenever the kids are
kind of coming down the aisle because uh, I don't know,
sometimes something really interesting usually happens at the moment that they
see everybody looking at them. Um, and I like to capture that.
And absolute worst case,
I can still pull a still from this video because everything will be well
exposed. Um, so if they want something to put in their album,
if the kid just like freezes and then just like runs full speed at me and I
can't get a photo, at least have that video clip to pull from. Also,
you can't really tell that. I'm not really looking at, uh, the groom right now.
I just kind of have my camera sideways. Um, I,
I don't want to make eye contact with him. I don't want Michael to look at me.
I feel like that kind of ruins the moment. So I just kinda,
I looked down the aisle,
which also means that as soon as the bride gets down to the end of the aisle and
as soon as Stephanie's there that I can pan around quickly and get that shot.
Uh, but I am always trying to get that close up of the groom's reaction. Um,
especially in this case cause they haven't seen each other before the ceremony.
And I think it's, I would say my favorite shot that goes in every video.
So it's,
it's nice that he's in the shade right now and that it's shady because I'm,
if it was sunny, this would be, it would still be an okay shot,
but it would not be quite as good. I also feel that that shot is a video shot.
The reaction should be a video and an image does. It does an okay job,
but I feel that the video works pretty much like 95% of the time. So Stephanie,
her dad coming down the aisle, uh, again,
just kind of doing photos at the beginning and then as they get closer to me
doing videos, um,
I also have a super secret second shooter named Montana who's hiding behind the
efficient right there. Um,
so she's my second photographer for the day and during the ceremony right now,
I usually have her roll video just as external coverage, um,
just in case my camera. Um, like sometimes the buffers just like, Hey,
we're not gonna actually let you write a video file right now. Um,
so you have to kind of be prepared for those things. Uh,
what I'm going to actually talk about, uh, during the recessional,
I guess as they're coming back down the aisle, um,
I'll give you something that I just figured out on this wedding that I did not
know prior to, uh, to this wedding day.
So that's a world premier world premier Worldstar hip hop,
that's a joke.
Did nothing to make sure that I do during the ceremony has get reactions from
the parents and the family in the front row as well as kind of a shot of all the
bridesmaids together hopefully during a nice moment and as well as the groomsmen
altogether.
And other than that I'm just doing the video coverage exactly as I would be
doing the photography coverage,
just bouncing back and forth and anything that I'm doing a photo of,
I'm doing a video of as well.
But you're definitely looking for those moments where things actually move. Um,
and emotion is actually happening because video
and keys,
so this is actually a pretty challenging ceremony cause the sky is blue and it
is absolutely beautiful out and it is very challenging to get that dynamic
range. So I am secretly going to flip over to my 24 millimeter lens right here.
All right, so in light room here,
this is obviously a way more challenging image than the rest of the gallery.
The rest of the gallery like is fairly simple for the most part. Like,
all I did here was just add my summer 2018 cool preset,
how you can find these in the description below if you're interested.
And then these travel and commercial, uh,
they are on my Patrion so if you're a member over there,
you'll be able to download them on, on Friday. So hold tight.
I'm just kind of refining them to be perfect. They'll be available on Friday,
but these are available right now, the Taylor Jackson 2018,
which is what I use for all my weddings. Um,
so they all pretty much work. Um,
I would say it all comes down to your tastes, so like that could work. Um,
the warm preset could work if that's your style.
I like the style specifically for this wedding. Um,
I kind of pick a different one of these based on every wedding,
but for the most part they kind of have the same look and feel, I would say. Um,
so a lot of images from today, very, very easy.
This image specifically because I want the blue sky and I want them and I'm not
going to bring in like studio strobes to brighten everybody up. Um,
if you wait for the sun to kind of hit this scene,
it will lighten it up and make it more cohesive.
But then it's a really harsh kind of direct sun that I'm not really into.
So I'm going to show you how I would go about this.
Step one isn't kind of hole in the box is click this button.
And as you can see,
pretty good so far I lose a little bit of the warmth because they are in the
shade. I'm going to bring highlights back.
And overall this is starting to like come together a little bit because I did
have to bump the exposure up.
I'm going to add a little bit more vibrance cause you'll lose a little bit of
saturation whenever you bump exposure or at least that's what I've kind of
noticed in this case specifically.
And I'm gonna come over here and I'm gonna grab a graduated filter.
And I guess there's kinda two ways that you can either do something like that.
I'm just going to kind of bring the highlights back, saved a little bit,
something like that. Start looking pretty good.
And then what I do is I make kind of a natural, um, vignette as well.
So maybe not that harsh, but so basically what the graduated filter does,
it is kind of like more,
more or less less transparent here and then as it gets to the end of the filter,
it becomes entirely transparent and just lets you go into the scene.
So I'm pretty happy with this. Um,
adding a little bit of natural contrast there
and then
double click things and they go back to normal. If I'm brightening something,
I'm bringing the contrast down and the shadows up for it rather than just
cranking the exposure. The exposure is kind of like,
it gives it away that you've, uh, you've adjusted a section of the scene.
So I think something like that, you can even go in here, it might be too much.
So I like kind of natural vignette over here, natural vignette over here,
bottom. Um, and I think that looks pretty good.
I'm pretty happy with that image overall.
And it is for me a much better image than if it would have been bright and sunny
even though it would've kind of achieved this. It would have been, um,
a little bit worse in my opinion. Um,
if it's a sunny day and that's all you got, then that's all you got sometimes.
But if you're waiting for clouds to happen, uh,
do a lot within the cloudy period and get the photos that you need and then
that's all originally that's what the image looked like. Now it looks like this,
uh,
with a few quick things and obviously if you don't have to talk about it while
you're doing it, it happens really fast. So, um, the more you do this,
the faster you get at it and maybe it's going to take you like an extra 10
seconds for an image. So, uh, moving on, back to the video,
ladies and gentlemen, please.
So this is one of the greatest things that I've ever experienced. Um,
the new GoPro seven.
I'm just kinda holding it in my hand and it has what they call hyper smooth
stabilization and it's like, Oh yeah, I'm sure it's probably pretty good. Um,
they claim it feels like a gimbal. I'm like,
you're doing this on a handheld gimbal and it turns out that they are a hundred
percent accurate with that. So this was my test case.
I didn't pay too much attention to the framing,
which I am a little bit sad about because it worked out way better than I
expected. Um, so just kind of tracking them down like this,
pay absolutely no attention to the video camera and everything looks like it's
on a handheld gimbal, so you can kind of tell. Um,
but next time I'm just going to have it in my hand and I will be super aware of
kind of independently controlling both, uh,
because I think that it is an incredible tool that's going to be something that
I use all the time. Uh, as you can see,
it kind of clips the highlights a little bit more than you might like it to,
but I'm also shooting the GoPro built in color. Um,
so if I was to shoot a flat profile and maybe bump the, uh,
exposure compensation down a little bit,
I think that it could do some pretty incredible things.
So that is how you shoot photo and video simultaneously and also get full
coverage, full total coverage of it. Um,
here's more of a demo of this GoPro seven.
So right now you're on the GoPro seven.
Like what an incredible softness to everything. Uh,
obviously I'm not the most skilled camera operator.
Now I've never really run a gimbal on a wedding day. Um,
so this kind of does change my game at least a lot as far as weddings and good
lighting conditions. And I'm actually able to do shots with movement,
which I've never been able to do.
Cleaners.
All right, let's get,
and I'm gonna make y'all talk to each other and laugh at each other,
just like smile or something
and just look at each other. All right. That's good enough. Thanks.
Looks so good.
Today I just decided to everything on the 24, one, four at one four. Um,
I don't usually do that. I usually do these with an 85. Um,
and again going back to the GoPro, just like that's not the GoPro.
Sorry to lie to you. I won't do it again, I promise.
[inaudible]
that's great. And when you guys get to the top of the Hill there,
if you want to kind of face into each other or if you just want to look at each
other while you're walking and it looks good too
and you guys can kiss for one or if you want to do the little a,
the twirl that you guys did back at the uh,
[inaudible]
that was like, that was really elegant and just kind of hold hands.
Just you can kind of be side to side but just angle in towards you.
Each other. Yeah. Zumba like that's good.
Awesome. All right.
I'm going to get some photos of you guys like kind of walking out this way cause
I think that's the, I think that's the shot from this. So
even as you kind of came in how he was kinda holding her dress.
I feel like that's kind of the,
for the couple session I'm usually looking for like five video shots and the
rest is just all photography. So it's very photography heavy. I would say
I put both arms or at least your arm around her there. Let's get there.
That's perfect. I feel like the,
the leaves in the back make a heart. It's like pretty close.
That was uh, me making those noises. Please pardon the interruption.
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head over to Patrion because the Patriot on Panda says so.
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All right, that's great. Let's see here. Everybody look at me.
Family photos are always a little bit of a struggle.
I when there's lots of people around so just do the best you can and you're not
trying to do anything revolutionary. Just clean photos. This is a photo chairs.
[inaudible]
Montana is back here doing details and candids of everybody at cocktail hour
while I was out doing the couple session that you just saw. Um,
I am just kind of continuing a little bit of candids and a couple details here
and there. Uh, but for the most part, like the in here is amazing.
Like we're just inside a giant softbox so there's no reason for me to bring out
a flash shirt and set something up and tell it gets a little bit darker.
But with all the lights in here, it's actually like,
even though it looks pretty dark on the GoPro,
the quality of light is actually really good. Um, so I am using a flash,
I have the orange gel on top of that flash so that it's matching with the
incandescent bulbs and I'm just kind of doing it that if I'm at maybe like a 10,
15 foot distance from somebody that it's going to light them a little bit more
perfectly than just the, uh, the light bulbs in the tent would,
I'm using a very low shutter speed because I want to get the ambiance of
everything in the room. Uh, but because of that,
I do tend to get a little bit of blur if somebody is moving pretty quickly.
So moving into the first dance, exactly the same thing, orange gel on my flash,
about 15, 20 feet from them. Um,
I also do the thing where you crop into Dex mode within your camera.
If you shoot an icon, you can do this for sure. If you shoot Canon,
I don't know, maybe you can, um, Sonya can for sure.
So whenever I'm doing video, I'm punching into DX mode.
And then if you're shooting a D five you can actually go into three times mode.
So you can get really nice and close from a distance with an 85 prime.
And it's kinda nice to have that one for prime,
but be able to jump around within the focal lengths of going from an 85 to like
1.5 times 85 to a one three point times
the guess. That's all for the video. I've never been good at editing videos.
No, it's just us in darkness.
I hope that you enjoyed today and I hope that you
have a great day.
I think you'll have great success in your wedding photography career.
Until next time I'll see you then.
Bye.